To study the Makyong performance of the Seri Patani Troupe, particularly in terms of its history, composition, performing methods, and the introduction number by reviewing academic documents, interviewing performers and those who have studied the Makyong performance, conducting observations, and participating in the Makyong performance in Patani Privince. The findings of the study reveal that Makyong is one type of play of the Muslim people in Thailand in which ceremonies, beliefs, performing arts, and music are combined. Most of the performers are females, which an exception for the comedians. The entire casts consists of the male in the leading role called "Pohyong", the female in the leading role called "Makyong", the comedians called "Pue run mu dor" and "Pue run du wor", and the nanny or the maid called "Moh-i-nang" or "Hamasani". The Malaya dialect spoken locally in Patani Province is used in the performance. There is evidence that Makyong performance began for the first time during the reign of Queen Hi Yao in B.E. 2155, and at present, Makyong is performed for three purposes: ceremony, entertainment, and demonstration, each of which has different performance patterns. When performed for a ceremonial purpose, Makyong consists of 6 performing stages, while it consists of 5 and 2 performing stages whien it is performed for entertaining and demonstrative purposes, respectively. The theater where Makyong is performed is constructed on the ground laid with mats and is divided into two sections-the stage and the greenroom for performers. It is normally 5 to 6 meters in width and 8 to 10 meters in length. The band is usually composed of the ruebub fiddle, khunae drum, zuna oboe, traditional instruments called kong and mong, violin, and cymbals. The band is usually located on the right side of the performers. In addition, there are altogether 12 stories which are popularly performed, with Kor Dung Mus and De Wa Mu Dor as the most popular ones. Except for Pohyong's costumes which imitate the costume of the royal family, the costumes for other performers are similar to those of the ordinary Muslim people. There are three troupes in Patani Province, and at present, only the Seri Patani Troupe can deliver the full production. There are five songs used in the introduction number of this troupe, namely, La Khu Khue Ba Ngung, La Khu Pee Gay, La Khu Gue Yae Ma, La Khu Tue Lao Ma Nee Nga, and La Khu Pa Ngay Ma Nga Cho, each of which is performed by the performer who would simultaneously sing and dance. The most outstanding characteristics of the introduction number is the Pee Gay pose in which the performers' body and head will be erect while they are sitting cross-legged. In addition, the song, music, musical instruments, the language used in the performance, costumes, and a rattan whip, a prop of Pohyong, are considered unique characteristics of Makyong. Nowadays, the number of Makyong performances is declining due to changes in beliefs, as well as social and economic conditions. People are paying more attention to modern performance because the traditional performance uses archaic languages which are difficult to understand. Lack of transfer of knowledge and lack of support from both the public and private sectors also contribute to the declining popularity. Therefore, conservation and promotion of the Makyong performance are called for so as to allow this performance to continue its existence.
