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    Arifin C. Noer, Rendra, Putu Wijaya, Noorca Marendra Massardi, Akhudiat, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi, N. Riantiarno, Aspar Paturusi, Afrizal Malna, Ratna Sarumpaet,

ISBN: 9789798083723

The Lontar Anthology of Indonesian Drama Volume 3: New Directions

by: Arifin C. Noer, Rendra, Putu Wijaya, Noorca Marendra Massardi, Akhudiat, Wisran Hadi, Saini K.M., Yudhistira ANM Massardi, N. Riantiarno, Aspar Paturusi, Afrizal Malna, Ratna Sarumpaet,

As the New Order government became increasingly authoritarian, there was a clear shift in playwriting style from allegorical fairytales of wordplay, humor and oblique reference to a more direct engagement, interrogation, and call to arms. All in all, Indonesian drama during the New Order provides a fascinating window into a society caught between the legacy of tradition, the

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As the New Order government became increasingly authoritarian, there was a clear shift in playwriting style from allegorical fairytales of wordplay, humor and oblique reference to a more direct engagement, interrogation, and call to arms. All in all, Indonesian drama during the New Order provides a fascinating window into a society caught between the legacy of tradition, the challenge of repression, and a strong desire for democratization.
ISBN: 9789798083723
EditorEditor : Cobina Gillit, John H McGlynn
Publish Date: 2010
Page Count: 517 pages

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). 

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
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.

Afrizal is concerned with a questioning of language and a bodily engagement with public and private space, things and their connotations and associations. It is through the appearance of everyday objects that Afrizal’s poems emerge as a repository of the cultural meanings of space and things in Indonesia’s everyday modernity.

Afrizal’s poems, through drawing on practices of montage, precise diction and curious grammar, maintain a fine balance between consistency of style and variation in theme and subject which asserts his distinctive poetic voice. These are poems that trace the quickly changing urban trajectory of present day Indonesia.

Additional information

Weight 6 kg
Dimensions 15.3 x 23 cm

“The Lontar Anthology of Indonesian Drama Volume 3: New Directions”

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