This research paper is based on an investigation into story plots and themes of the non-scripted Likay Theatre. It aims to categorize the core plots and themes of Likay performances during 1980-2010 and to find the most effective and the most efficient method of performing the non-scripted Likay performance.
Relevant research materials are collected on the history, acting styles and stage conventions of Likay. A variety of Likay performances selected from different parts of central Thailand is evaluated; plots and themes of Likay are analyzed and categorized based on the core theme of the performances. The creation of the non-scripted performances is observed. Various Likay practitioners from different Likay troupes in central Thailand are interviewed. The skills of Likay performers and Topo (the troupe leader) in performing without scripts are evaluated in details.
It is found that the modern Likay plots can be categorized into only two main plots; Love triangle and misunderstandings about love amongst families. These categorized plots are in contrast to the plots in 1945-1980 classified by Suraphol Virulrak, a researcher who compiled and made a bible of Likay called "Likay" in 1980.
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