TEKS DRAMA TUMBANG KARYA TRISNO SUMARDJO


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According to Matthew I. Some of the practitioners I knew from my first visit in ; others I contacted for the first time in , asking them for permission to meet them for discussion of their life and work. In , a small but well-received art school named Cine Drama Institut had opened its doors in Yogyakarta, funded by the Ministry of Education and Culture. Actors therefore not only identified but also contrasted their personal identity with foreign roles and in doing so, continued this inner revolution, the search for an Indonesian soul. This first generation of theatre practitioners in the post-Sukarno period was immensely influential for many years to come and, although their respective artistic styles differed, all of them contributed to the creation of a new form of Indonesian drama. Soon after , the theme of democratic responsibility was to be presented on stage in a playful, educational manner. I am really amazed by this group, right up until now, because they have like a kind of flame, which burns you if you watch them, and the idiom is the joke. This was an early experiment in liberating plays written by Western authors from their cultural conventions and transferring them to Indonesian concepts of society.

This is an on-going process. Theatre practitioners are still, arguably, politically and socially engaged and trying to develop a new language; but they have emancipated themselves from the political opposition of earlier years. Performances as sites of memory and trauma in Indonesia Until we meet again in ……. Likewise, topics that were often exhibited in Boedi S. Over , alleged communists were killed in the aftermath. In the following years, Indonesia saw rapid economic growth, which brought wealth to some, a growing number of tertiary-educated Indonesians, and the emergence of an affluent urban middle class, despite tightening military control, escalating corruption, a new and somewhat dominating form of Javanism, as well as environmental problems due to rapid industrialisation.

In Indonesia, for example, there was a stronger focus on Islam, and the Muslim community or masyarakat madani.

As Riantiarno states in an interview, he sees his work as: PM Tohto processes seeking truth and reconciliation in Indonesia in the post-Suharto era. An artist [Adnan] is also a trusted person who is asked to give advice to neighbours and about community issues.

PhD thesis_Tamara Aberle

The s — Raging against the regime Censorship during the New Order was often as confusing as it was unpredictable. Within this physical theatre movement the performance art scene in Indonesia also established itself on a larger scale. During the tentative beginnings of this new politically-aware theatre making a stand, plays were often enriched with jokes, especially in the s and 80s.

According to Robert W.

The work of this Nobel Prize winning Indian poet and philosopher, who was a contemporary of Pane though much olderwas very influential for the group of intellectuals around Poedjangga Tisno. They preferred their art to be called tooneel also: This form of theatre invited multiple, pluralistic responses from audiences, and as both Bodden and Lauren Bain argue, in a Western theoretical framework could be described as postmodern.

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Neither Sumwrdjo nor Iwan have any classical theatre training and in their performances they experiment freely with different forms of puppetry and object theatre, such as masks, wayang kulit Indonesian shadow theatremarionettes, glove puppets, and muppet-style puppets, the two latter puppetry forms alien to an Indonesian audience.

However, through the introduction of political decentralization sumarejo the end of the New Order, the provinces have been given more power in executive, legislative and judicial matters. At that time, I was more interested in the Asian continent so I decided to follow the Indonesian language option.

Kaeya Sutton, the following is noted: While there was trksno focus on Western plays in general as a reference for theatre work, many of the new Indonesian scripts did not predominantly deal with the Dutch legacy. When Putro karyya Tini try drana escape their persecutors they are both run over by a train, which explains the ghostly 64 voices Amat and Tono, the railway workers, can hear Political and social forces, now competing with one another, also impacted on the contemporary theatre world.

In many ways, this meant crushing his enemies and establishing an authoritarian system. The Western influence became 62 obvious both in theatre education and in what was staged. Rendra, choreographer and songwriter Guruh Sukarnoputra and Rhoma Irama, a popular Islamic singer In an unpublished statement about the socio-political background of his work, he notes the strong influence of his teacher Teungku Adnan PM Toh61 on his work: Drwma Handayani in her role as Supi, throwing money into the air.

Modern theatre in Indonesia would only have this kind of international, cosmopolitan flair until the s, as afterwards teater was to become more elitist. Performances were often staged in front of a halfempty auditorium with similar faces in the audience day after day, small audiences often being a general problem for modern theatre performances triso Indonesia.

I also argue that what differentiates the performances discussed in this thesis from those performances of the s and 90s is not only connected to the distinctive political situation of the post-Suharto years, but also to a change in possibilities for theatre artists in Indonesia. They deliver things in jokes. An artist is someone who from time to time is asked by his ill neighbours to give medication.

For those personally teeks by the event that caused the trauma, it can inflict very real psychological problems, but there are also more widespread and long-term societal effects. In later years, it has sometimes been affiliated with political groups, such as LEKRA, the cultural arm of the Indonesian Communist party, and later, under Suharto, it was often used as a means of expressing political discontent in various ways, increasingly so towards the end of the New Order when theatre artists joined forces with activists and NGOs to dismantle practices of the regime.

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My supervisor Matthew Isaac Cohen always had an open ear and a clear mind when I got stuck, and for his thoughtful advice, sharing of knowledge kary time I am very grateful. This refers, for instance, to immediate audience reaction or the fact that a DVD may have been created as a promotional tool, and so on. Alternative versions of drwma history began to be told at academic conferences, through exhibitions, and on stage.

PhD thesis_Tamara Aberle

She argues that this change is connected to a different kind of education. One problem that the competitors face is the time and effort they spend on rehearsing for the festival. The Dutch and their allies were unable to resist the Japanese invasion trisho within a few months of the first attack the Japanese overpowered them. The mayor of Solo issued a statement in support of the movement.

Mandal asserts that the: One was the political student theatre with strong links to the national movement, which will be discussed later in the subsection — Michael Bodden argues that, during the reformasi period, modern theatre, literature and other cultural forms are attempting, within their sometimes limited but not unimportant sphere of influence, to reach out to different and wider audiences, to expand the possibilities of creative and social expression, and to help articulate dissatisfaction with the legacy of the New Order as it manifests itself in the Reformasi period.

In Indonesia, such skewing of history and the negation of personal experience has had huge impact frama the New Order generation.

It is the grim story of Putro and Tini, and their descent into criminality and prostitution. Within the dangdut genre there are different styles for a more detailed discussion of dangdut see Weintraub Dangdut Stories. It can be characterized as Arjuna, xumardjo lived as an ascetic at Indrakila. This is a major problem when looking at the effect of theatre performances, as the audience walks away after having watched a one frama two hour play. Helen Gilbert, who supervised my work in my first year at Royal Holloway.

Her murderers were never convicted.