ANALISIS DRAMA TUMBANG KARYA TRISNO SUMARDJO
Influences on komedi stambul are manifold and can be traced back to European, Indian and Chinese sources. Actor education was centred on the Stanislavsky method, which was very different to traditional theatre education in Indonesia with its strict aesthetic rules. After years of Japanese occupation and the subsequent Indonesian revolution, large parts of society were impoverished. In his Prison Notebooks Gramsci understands civil society as cultural and political hegemony of a social group over the whole of society Rancangan Undang-Undang Anti Pornografi dan Pornoaksi – Bill against Pornography and Porno-Action was announced in , however widespread protests forced legislators to amend the controversial bill which then finally came into action in October Hariyadi. Cohen and Noszlopy note that: This, however, can be both an advantage and a disadvantage.
Unfortunately there are not many komedi stambul scripts accessible today. This idea shall be further investigated in terms of how these performances are embedded in a larger dialogue of truth and reconciliation seeking that began with the end of the New Order. From a performative perspective the idea of living in a postcolonial era is definitely present in some current theatre works, and has been present in earlier works as well. Gillitt describes further how the government funded LKN enforced regulations that dictated that no traditional and modern plays would violate this policy. Ironically, it was the Japanese occupation that awakened the spirit of Indonesian togetherness, what Takdir Alisjabahna called semangat ke-Indonesiaan [spirit of Indonesianness] Takdir 12 , among the rural population. One problem that the competitors face is the time and effort they spend on rehearsing for the festival.
These bans provoked a significant response in the Indonesian media, as the promised keterbukaan had so obviously failed to materialize. However, a shift can be observed as new theatre communities are established in more rural areas, such as the Jatiwangi Art Factory based in the Jatiwangi-Jatisura-Surawangi area near Cirebon in West Java or teaterStudio Indonesia in Serang, Banten, which specifically aim to attract a wider, more diverse audience, opening up accessibility of teater.
The East considers the spirit as important with the result that it is forgetting about the body.
PhD thesis_Tamara Aberle
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. Thus, for this narrative of modern theatre, the discourses of post-colonialism will not play an important role. In reference to the funding of Mimbar Teaterhe noted that it was difficult to interest the Ministry of Tourism, Arts and Culture in new projects, as they are more interested in commercial projects that support tourism by having a stronger traditional focus personal communication 19 Jan.
Haluan jang sempurna ialah menjatukan Faust dengan Ardjuna memesrakan materialism, intellectualisme dan individualisme dengan spiritualisme, perasaan dan collectivisme. The work of this Nobel Prize winning Indian poet and philosopher, who was a contemporary of Pane though much olderwas very influential tu,bang the group of intellectuals around Humbang Baroe.
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 and time I am very grateful. Whereas Putu Wijaya or Rendra, for instance, were still very much grounded in their traditional background and had enjoyed a university education, many of the younger generation of theatre practitioners in Jakarta had not proceeded past middle school for various reasons. Cohen and Noszlopy note that: Moral questions are central to Teater SAE and its scriptwriter Afrizal Malna includes issues of ethically correct behaviour between humans and their environment, community and commonality.
In these cases, my observations are based on video recordings obtained either directly from the artists, or through a friend, Joel Taher, who works as a cinematographer for the Jakarta Arts Council, or from video recordings uploaded on YouTube.
Yet, over the years, the idea of Indonesia has been contested, as evident in the various separatist struggles that have defied the unity of the nation.
When using names of Indonesian artists in this thesis, I introduce them using the full name and then usually refer to them by their first name, as this is common practice in Indonesia.
For over 20 years, he gave me inspiration. Their repertoire thus already reflected Indonesia as a cultural community, as the diverse nation it would officially become after It is a semi-authoritarian system based on the idea of a traditional hierarchical organisational structure in Indonesian villages as Sukarno considered the Western democratic system to be unfit for Indonesia.
PM Tohin relation to processes of seeking truth and reconciliation in Indonesia in the post-Suharto era. Ika Krismantari writes in the Jakarta Post that: This is a major problem when looking at the effect of theatre performances, as the audience walks away after having watched a one or two hour play.
PhD thesis_Tamara Aberle
Other funding opportunities might be connected to performance venues. Students of the anthropology department at that time thmbang the opportunity to learn a foreign language, but the choice was limited to Swahili and Indonesian. The first years of reformasi were experienced by many as chaos. However, the Dutch, who had been forced out of the country by the Japanese three years earlier now tried to tighten their control over Indonesia once more.
The demonstrators claimed that the event was neo-Communist propaganda, and accused the puppeteers and other participants of promoting this political position Triyono.
Graha Bhakti Budaya and Teater Kecil are used for similar popular events. This process, according to Winet, can only be successful when the characters performed are foreign Taking up the theme of Onrop! Performances in western Indonesian public theatres attracted ethnically mixed audiences, similar to those for komedi stambul, as the Chinese performers often used Malay language. Whereas political activists were fighting for a new governmental order, cultural activists were interested in how best to form the new Indonesian identity that would result from the political transition.
Cerita dari Rantau Sum: Hatley in Javanese Performances mainly focuses on performances in Yogyakarta, where she undertook many years of research. In an unpublished statement about the socio-political background of his work, he notes the strong influence of his teacher Teungku Adnan PM Toh61 triso his work: This period will be discussed in more detail in Chapter 1, which presents an overview of the history of modern theatre in Indonesia.
Where the audience of modern drama until the late s had mostly comprised a small elite, it now became more varied sumarduo socially diverse. At the end of the play Dr.
However, in the early 20th century with the development of the nationalist movement, the focus on an Indonesian identity had become more conspicuous and the struggle of how to best define this new identity became a major concern for artists and intellectuals, as did the longing for imminent political transition Ricklefs f.
Transnational collaborations between artists, often from other Asian countries such as Japan, Singapore, or the Philippines, are also of increasing importance and play crucial roles in facilitating cultural exchange and producing funding opportunities as artists at the same time try to become more independent from European and American funding and want to be recognized as independent artists on the same level as their Western counterparts.
This position was however challenged by other writers of the epoch, and was a major point of debate in the Polemik Kebudayaan Polemics of Culture movement in In it was urbanisation; in the industrialisation of education— both current issues of social concern. On the first day of the conference a demonstration was held outside the Goethe-Institut. These performance art events often have a strong socio-political agenda.