This paper is a part of the ethnographic research of transgender female performers in the 21 st century . The study gives the account on a particular performance called “ Likay Sao-Praphet-Song.” Likay is a Thai popular folk theatre emerged in the reign of King Rama V (1868-1910). Nowadays, it remains in popularity among the rural population and is appreciated amid working classes in the outskir t areas. Likay Sao-Praphet-Song or the kathoey version Thai popular folk theatre has received feedbacks of likay audiences very favourably since the first founded professional kathoey troupe in 2011. This paper mainly focuses on “the changing space” or the life behind the curtains of the folk performance stage . The paper aim s to explore how the changing space marks a site of the articulation of rural kathoey identity . The ethnographic research for the study was conducted in October 2017 July 2018 based on p articipant observation and in -depth interview with performers from three professional kathoey troupes, including community members in central Thailand. I will argue that the characteristic features of this space show the overlap between privacy and publici ty , which become a platform for kathoey self-expression and later creates the interrelation between kathoey performers and the communities where they perform