Thai Chaozhou Opera transcends national boundaries and Chinese communities, and gains special functions and significance in the multicultural structure of Thai society. It hides various social, political and cultural reasons, exerts an influence on Thai art, and also shows various relationships between Thai art and social politics, different cultures and different arts.

From the perspective of social structure, the emergence of Thailand's tidal theater domain mainly stems from the following three reasons. The first is the civil society structure that needs to realize exchange and common value-added. There are six major forces in Thailand, among which the nobility is linked to the political power, which has both hereditary system and new members, and has certain mobility. Therefore, Thai Chaozhou opera may become one of the fields where Chinese realize this kind of mobility. Nowadays, children in China are less and less engaged in the performance of Chaozhou Opera, but the ritual of offering sacrifices to the gods in Chaozhou Opera is still valued. The owner of Chaozhou Opera Troupe had to employ the northeast minorities as actors. At present, these Lao actors account for about one-third of the troupe dedicated to worship the gods, up to 70%-80%. Most of them don't know Chinese characters or Chaozhou dialect. They can only annotate the script dialogue and lyrics in Thai first, and then read the classics by word. Among them, there are many outstanding people. Xie Zengtai, a Thai hipster, found such an old Hua Dan: "This man is Rucha Fanny, a native of Langshun County, Nakhon Ratchasima, and he is 28 years old and has given birth to three daughters. Her parents make a living by farming. 1 1 years old, worked as a maid in a troupe. When I grow up, I also play a small role in the troupe. She learned to speak fluent Chaozhou dialect, but I didn't know she was a China girl. " Nida, an actor from Laos, studied Jason Wu in Xinzhongzheng Shunchao Troupe since childhood. This is an art accumulated for decades, and he took Ma Tiecheng 1994, a famous Taiwanese pillar and Taihua, Jason Wu as his teacher.

Second, the intervention of official political forces. Princess Sirindhorn is the official patron of Thai traditional culture. At first, Zhuang Meilong's planning of Thai Chaozhou Opera was recognized by her. 1982, when the first Thai Chaozhou opera "Bao Gong Yan Nephew" was staged, Princess Sirindhorn personally observed it, which marked the beginning of Thai Chaozhou opera as a national art form. King Bhumibol's political philosophy also had an influence. 1On May 27th, 987, His Royal Highness Crown Prince Tai Huang served as the royal representative. Fortunately, the National Theatre jointly performed the Thai Chaozhou Opera Loyal Yang Jiajiang for the Thai-Chinese Culture and Art Society, the Minglian General Association and the 43 Shantan, and General Tsaowali Rongzhiyu, commander-in-chief of the Army, served as the chairman of the conference. [7] The decision to sponsor Thai Chaozhou Opera is not a bottom-up public choice. One of the roots of this decision lies in the political philosophy of King Bhumibol of Rama IX, namely conservatism and national integration. King Bhumibol studied in Europe in his early years, and his political philosophy actually emphasized the interaction between the government and the people, so that different interests could be reconciled to achieve the balance of political and social forces, that is, power.

Finally, Thailand's geopolitical independence tradition. Thailand borders Cambodia in the east, Laos in the northeast, Myanmar in the northwest, Malaysia in the south of the peninsula, the Gulf of Thailand in the southeast and the Andaman Sea in the Indian Ocean in the southwest. Due to its special geographical location, Thailand's culture lies between two major Asian cultural systems, one is China, and the other is Indian. "China culture penetrated to the west but not more than Annan, while Indian culture penetrated to the north outside zhina Peninsula. They stopped in front of each other's fortresses, unable to go deeper and merge into a new system of two cultures. " [8] But overall, the Indian characteristics of Thai culture are more obvious. /kloc-In the middle of the 0/9th century, with the gradual invasion of western culture, the cultural situation in this area became more and more complicated. /kloc-in the 3rd century, the first dynasty in Thai history, Sukhothai Dynasty, was established. /kloc-In the middle of the 0/9th century, under the impact of western forces, Thailand carried out social improvement, and Britain and France fought for interests to keep Thailand from becoming a colony. Compared with other countries in Southeast Asia, Thailand entered the period of national consciousness earlier and realized the transformation from a traditional country to a modern nation-state. Thai Chaozhou Opera is not only the product of China's traditional opera art adapting to the new social and cultural environment, but also the expression of Chaozhou Opera's independent spirit in Thailand.

From the perspective of cultural form, Thai Buddhist culture is not as strong as Christian culture, which leads to external conflicts. Its openness and inclusiveness are conducive to the formation of cross-cultural spatial harmony. The formation and development of Chaozhou Opera in Thailand largely benefited from the deep-rooted Buddhist culture. "Fundamentally speaking, Thai culture can be summed up in one word, that is, religion." The state religion of Thailand is Buddhism, which is characterized by its harmonious coexistence with Hinduism, Brahmanism, Christianity and even animism. Thai people's life always revolves around their religion-Buddhism, serving Buddhism. [10] Although most Thais who have received higher education are rapidly westernized at the material and institutional levels, at the cultural and psychological levels, most of them still retain the oriental cultural traditions of kindness, morality, tolerance and harmony, and believe in karma and reincarnation. Compared with China people, Thais are more comfortable with the status quo, have no mentality of competing with the world, and have no doubts and jealousy about China people's business acumen and social achievements.

For centuries, overseas Chinese who migrated to Thailand from Fujian and Guangdong provinces mainly inherited China Confucianism and secular Buddhism. Because of their similar religious background, in the long process of national natural integration, they "did not arouse people's jealousy in the country where they settled, because they not only accepted the lifestyle of the country, but even believed in the religion of the country." The people of Huatai and China live in harmony and are like a family. In real life, Chinese and Thais perform their respective duties, just as they have blended their blood with each other for many years, and they have also blended their respective cultural traditions, including the art of traditional Chinese opera, so as to maximize the localization of Thai Chaozhou opera.

The field effect of Thai Chaozhou Opera has a certain influence on Thai art. As a new art form, Thai Chaozhou Opera is the crystallization of Chinese and Thai culture and art. As Chaozhou Opera itself is a constantly changing product, Thai Chaozhou Opera will gradually change its singing style with the use of Thai, absorbing new elements of Thai drama, dance, music, literature and times. To further develop Thai drama, not only the language, singing music and theme of Thai Chaozhou drama must be Thai, but also the script content needs to interact with the life of modern Thais. In June 5438+February 65438+April 2003, Hong Kong's Asia Weekly published Liu Zhenting's New World of Thai Soul Chaozhou Opera, and named Zhuang Meilong's Thai Chaozhou Opera as Thai Chaozhou Opera. The appearance of Thai Chaozhou Opera has built a new artistic concept in multicultural Thailand and further promoted the diversification of Thai culture and art. Although people have different views on Thai Chaozhou Opera, there is no doubt that Thai Chaozhou Opera is striving to have a new artistic taste, regardless of whether it belongs to the real Chaozhou Opera art or not. Prerre bourdaud, a French sociologist, thinks: "The category of' taste' is the symbol of' class' (pun refers to both socio-economic category and specific quality level). At the top of the taste hierarchy is the' pure' aesthetic examination-a historic creation-which focuses on form rather than function. "