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    Iwan Simatupang, Arifin C. Noer, Kuntowijoyo, Putu Wijaya, Noorca Marendra Massardi, Rendra, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi,

ISBN: 978-979-8083-73-0
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Antologi Drama Indonesia, Jilid 4 (1969-2000)

by: Iwan Simatupang, Arifin C. Noer, Kuntowijoyo, Putu Wijaya, Noorca Marendra Massardi, Rendra, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi,

The establishment of Taman Ismail Marzuki (TIM) on 1968 affects the art development as a whole in Indonesia. With the establishment of a theatre there, the theater pupil started to set strategies for public establishment and chose scripts accordingly to the socio-cultural and political contexts at that time. In New Order creations, it was felt

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The establishment of Taman Ismail Marzuki (TIM) on 1968 affects the art development as a whole in Indonesia. With the establishment of a theatre there, the theater pupil started to set strategies for public establishment and chose scripts accordingly to the socio-cultural and political contexts at that time. In New Order creations, it was felt the effort to be free from the pressure of the Old Order and succeeded to create artistic reformation, which before was forced to be loyal to realism, whereas at the end of the New Order, most of the creations tend to lean on realism-socialist ideas. Another books: Antologi Drama Indonesia, Jilid 1 (1895-1930) Antologi Drama Indonesia, Jilid 2 (1931-1945) Antologi Drama Indonesia, Jilid 3 (1946-1968) ISBN: 978-979-8083-73-0
EditorEditor : John McGlynn; Melani Budianta; Sapardi Djoko Damono, Nirwan Dewanto, Goenawan Mohamad, Adila Suwarmo Soepeno
Publish Date: 2006
Page Count: 624 pages
January 1928
Iwan Martua Dongan Simatupang was born in January of 1928 in Sibolga, North Sumatra. He took part in the 1945 to 1949 Indonesian Revolution against the Dutch, and was captured in March 1949. After the Revolution, he first studied medicine in Surabaya. Then he studied anthropology and drama at Leiden University in the Netherlands. Finally he studied philosophy at the Sorbornne in Paris. He returned to Indonesia in 1961, married to a Dutch pianist. Shortly after his return, he completed work on The Pilgrim (Ziarah), which was not published until 1969, and two other novels as well: Merahnya Merah (The Redness of Red), published earlier, in 1968; and Kering (Drought), published in 1972. Redness of Redwon a national literary prize in 1970 and The Pilgrim won an award for the best novel of ASEAN in 1977. In addition to prose, Simatupang wrote poetry, short stories, and plays—all known for their avant garde form. He also worked as a journalist and his columns were known for their frequent focus on Indonesia’s marginalized citizens. He died on August 4, 1970

Dilahirkan di Cirebon, Jawa Barat, 10 Maret 1941, meninggal di Jakarta, 28 Mei 1995. Pendidikan terakhir Fakultas Sosial Politik Universitas Cokroaminoto, Yogyakarta. Mula-mula aktif dalam Teater Muslim (di bawah pimpinan Mohammad Diponegoro) dan Bengkel Teater (di bawah pimpinan Rendra) di Yogyakarta. la kemudian mendirikan Teater Kecil ketika sudah pindah ke Jakarta (1968). Tahun 1972-1973 ia mengikuti International Writing Program di Universitas lowa, lowa City, Amerika Serikat. la juga adalah seorang sutradara film yang menghasilkan banyak karya yang dikagumi.

Karya-karyanya antara lain: Nurul Aini (kumpulan puisi, 1963), Lampu Neon (drama, 1963), Siti Aisah (kumpulan puisi, 1964), Puisi-puisi yang Kehilangan Puisi (kumpulan puisi, 1967), Mega-Mega (drama, 1967), Air pasang Pengantin (drama, 1968), Kapai-Kapai (drama, 1970), Seorang Pengemis, Seorang Laki- laki Tua, Prita Istri Kita, Nenek Tercinta, Matahari di Sebuah Jalan Kecil, Sumur Tanpa Dasar (drama, 1971) Kasir Kita (drama, 1972), Tengul (drama, 1973), Orkes Madun (drama, 1974), Umang-Umang (drama, 1976), Sondek, Pemuda Pekerja (drama, 1979), Selamat Pagi Jajang (kumpulan puisi, 1979), A-A, I-I, U-U (drama, 1994), Nyanyian Sepi (kumpulan puisi, 1995). 

Putu Wijaya (full name I Ngurah Gusti Putu Wijaya), born in 1944 in Tabanan, Bali, is one of Indonesia’s most prominent literary figures. He pursued his tertiary education in Yogyakarta, studying at the Indonesian Fine Arts Academy, the Drama and Film Arts Academy and receiving a degree in law from Gajah Mada University. He then moved to Jakarta, where he launched his literary career while simultaneously working for several years as a journalist with Tempo and Zaman. Putu has been extraordinarily prolific, having authored some thirty novels, forty dramas, numerous film and television scripts and literally scores of short stories and essays. He is also known for his work leading Teater Mandiri, widely regarded as Indonesia’s foremost theatre collective. Putu’s philosophy of theatre is to create a tontonan (spectacle) that establishes a dialogue between author and audience and imparts a powerful, even shocking, experience rather than didactic message. His fiction is likewise marked by surreal, extravagant flights of imagination and his unique brand of magic realism presents a frequently mordant view of life in contemporary Indonesia. While drawing on indigenous genres, he recasts them in disorienting ways that push readers to question received norms. Over the course of his illustrious career, Putu’s work has won numerous awards and he has received recognition outside of Indonesia as well, which has included fellowships to study kabuki in Japan, a residency at the University of Iowa’s prestigious International Writing Program, and a Fulbright Scholarship to teach Indonesian theatre at universities in the United States. His writing has been translated into Japanese, Arabic and Thai as well as various Western languages.
People still call him “Willy” although his name changed to Wahyu Sulaiman Rendra when he converted to Islam in 1970. From birth until the age of 35, he was known as Willibrordus Surendra Broto, or W.S. Rendra. Rendra is known not only as a poet, but also as a dramatist. Born in Solo, Central Java, on Thursday, November 7, 1935, from a Javanese Catholic family. He was educated from kindergarten through high school in the city of his birth. He continued his studies at the Literature Department at Gajah Mada University in Yogyakarta. His enjoyment of dramatic performance began when he was in high school. In 1957, Rendra won the literary award from the Consultative Body for National Cultural (Badan Musawarat Kebudayaan Nasional) for his poetry compilation Balada Orang-orang Tercinta. His name was immediately championed as the master ballad verse, and subsequently many young Indonesian poets imitated his style. He received numerous awards, among them the Wertheim Encourage Award 1991, and the SEA-Write Award 1996. In the 1980’s, he became known as “a leaflet poet” as he wrote socially conscious poetry.  He is respected by the public at large for his courage and skill at articulating the aspirations of society. His poems have been translated to many languages, including English, Dutch, German, Japanese, Russian and Hindi. In1957, he had the opportunity to visit the Soviet Union; he also lived in the United States for three years (1964 – 1967) while studying at the American Academy of Dramatic Art, New York. After returning from New York, Rendra founded the Bengkel Theater. With his apprentices at Bengkel, he caused a great public stir with their “Kaum Urakan” encampment at Parangtritis beach in 1972. Sunarti Suwandi (Almarhum) is his first wife. She was the woman who inspired much of Rendra’s early poetry. In 1970, Rendra converted to Islam and married Sitoresmi Prabuningrat, one of his colleagues from Bengkel Theater.  Currently, Rendra lives with his third wife, Ken Zuraida, and his Bengkel Theater protégés in the village of Cipayung on 2.5 hectares of farmland and livestock to provide for their daily needs

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Dimensions 16 x 24.5 cm

“Antologi Drama Indonesia, Jilid 4 (1969-2000)”

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