This thesis aims at studying the historical background, components, poses, objectives and significance of royal traditional performances. The study is based on data from academic papers, interviews with the masters, the performers and academics who have knowledge about the royal traditional theatrical performances, and observations of the actual performances. The result of the study shows that royal traditional performances have been practiced in royal ceremonies such as the royal tonsure ceremony and the royal while elephant celebration ceremony since the early Ayudhya period. The royal performances comprise Mong krum, Rabeng, Kulateemai. Taengwisai and Kru-ua Taeng Kwai were later added. The Department of Performing Arts (Grom Mahorasop) was responsible for the training of the performers and organizing the show. At present, the royal ceremonies have become less frequent so the performances are fewer although the art is still passed on in the Performing Arts and Music Institute in the Department of Fine Arts. Mong Krum is a kind of dance accompanied by drum while rabeng is a theatrical performance telling a story of a king who goes on a journey to attend a royal tonsure ceremony and on the way met with evil. Kulateemai is singing accompanied by the hitting of wood. Taengwisai is a mock weapon training show. Kra-ua Taeng Kwai is a play depicting the hunting of a buffalo by Nang Kra-ua and her husband. The first three sets of performances are somewhat similar with all male performers dressed in long-sleeved and high-collar shirts, and a brocade (Jongkraben) worn over the trousers (Sanubplao). The performers also tie a piece of cloth around the waist and wear a tiara on the head. The performance can be held either on a large open field or on a stage. The components accompanying Mong Krum consist of Kampot wood, Mong krum drum and Kong Mong. For Rabeng, a bow and arrows are needed; and for Kulateemai performance, Kampot wood is needed. The last two kinds of performance no longer exist today. However, according to the evidence it is said that Taengwisai performers were dressed like Chinese warriors called Siewkang. Two warriors are engaged in a fight using many kinds of weapons such as spears, swords, lances and shields. As for Kra-ua Taeng Kwai, 3-4 performers are dressed as villagers and a buffalo; and the buffalo hunting act is comical.
