A performance of which acting and dancing are combined. All methods are identical to those of LAKHON (Acting). Only minor differences make KHON not to be called LAKHON. Dancing in KHON is similar to dancing in LAKHON NAI (Royal act). More patterns of dancing with different actors and melodies are adapted to avoid similarity among them.

The main characteristic of KHON is that all performers, except the angel, leading male and female performers, have to wear masks.

The masks cover performers’ head '. There are holes, for visibility, at eye position. They are decorated to perfectly portray protagonists’ personalities such as YAK (demon), simian, teva (angel) and others. Masks are decorated with gold, lacquer, and paste jewels. Some people call them “Na Khon”.

The story is proceeded by both rhythmic expressions called “Pak” and rhythmic dialogue. The Pak’s words are Karb Yani (a verse that consists of 11 syllables) and Karb Chabang (a verse that consists of 16 syllables). The dialogues and songs for KHON actors are all recited and sung by, so called, a cheracha man ( a person who speaks out the dialogues for the performers).

Costumes for KHON and LAKHON NAI are identical. The only distinctive item is, naturally, the mask. The masks are in various designs depending on characters and roles. The dress for a leading actor and demon has two colours distinguishing a waistcoat and sleeves. The waistcoat, by this token, represents Armour. For the simian roles, coats and sleeves are designed with pattern of lines rounded in clockwise direction representing hairs. For the demons, there must be a short piece of cloth hanging at the back hem.

The repertoire for KHON is drawn from Ramakien (Ramayana). The KHON performances are categorized as described below.