The History of Modern Theatre in Indonesia - Research Paper Example

Modern Theatre History Indonesia is famous for its diversity in theatre and plays that continue dominate since the 1960s. Traditional theatrical genres have immeasurable and plausible role in the formation of modern Indonesian plays. There are notable and distinguished transitions in the Indonesian Theatre regarding cultural changes. Key personalities in the Indonesian theatre include Putu Wijaya who has embraced the traditional theatrical reforms. A significant number of Indonesian writers of plays and other artists as novelists adopt the wave of change in theatre, as well. The popularity of vernacular theatre motivated by traditional theatre genes in Indonesia receives appreciation. Traditional theatre genes are responsible for the evident vivacity in modern theatre in Indonesia through promotion of communication in theatre arts. The growing liveliness in modern Indonesian theatre originated setting up of ancient cultural centers used to promote traditional theatre. The setting up of TIM center in Jakarta, for instance, remains a major step in promoting theatre in Indonesia. Cultural centers anchored the emergence of modern theatre arts that blended modern and traditional genres. Indonesian theatre artists point at the Indonesian tradition as playing a critical role in enhancing the progress of styles of directing. The Indonesian tradition is, as well, influential in dictation the ways of writing plays. Acting skills in Indonesian theatre also owe their development from Indonesian tradition. The decorations, designs and other structural skills in Indonesian theatre all have relationship from the Indonesian theatre. The play, “wayang kulit” by Wijaya is a vivid illustration of the use of vernacular theatre genres. The role of is Islamic society traditions in shaping the Indonesian theatre is indispensable, central and vital. The advancement of modern Indonesian theatre is a factor that holds its success from the Islamic traditions. One notable example is the relationship between the kind of arts adopted in the Islamic traditions and those that are in the Indonesian present theatre. The use of modern theatre to display the diverse artistry in Islamic traditions is a notable advancement in present Indonesian theatre. The Maya amateur theatre was among the most original in Indonesian theatre from the time of liberation in 1949. The troupe featured a number of artists who had their affiliations to the Islamic traditions. The inclusion of intellectuals in Islamic traditions remains one of the central factors that escalated this national theatre troupe to its superb performance. The contribution of the Islamic traditions on the unique ways of performance in the Indonesian modern theatre is massive and immense (Hatley148). Both Theatre s in the Indonesia produced before and after the independence (Hatley 55) of adopted traceable forms of Islamic traditions. The performance of poetry in Indonesian, for instance, draws similarity from the unique recitation of the pengajian, which is a traditional Islamic Indonesian recitation of the Quran. Besides dictating the recitation, traditions dictate the means of acting in most Indonesian Theatre s today. Most iconic artists in Indonesia induce their Islamic traditions in their plays while acting. Arifin Noer is a renowned theatre artist who blends traditional Islamic techniques while acting. The vocal techniques used in acting in theatre follow the orientation of the Muslim identity of the most artists in Indonesian modern theatre. The performance in Indonesian theatre experienced strong opposition from affiliates of Islamic culture in the past on claims of morality (Brooks 99). This, however, had marginal impact on the rise of the Indonesian theatre to its apparent position. Theatre artists and institutions set to protect the rights of artists have been influential in the progress of present Indonesian theatre. Theatre artists in Indonesia enjoy the freedom from interference by orthodox ulamas. The contribution of Abu Hanifah towards the progress of Indonesian Theatre is recommendable and receives high appreciation in the society today. Hanifah remains remembered for being among the native initiators of Maya cultural collective. They formed one of the original theatre troupes in Indonesia that acted most of plays written by Hanifah, the Maya Theatre troupe. His works showed affiliation to Islamic beliefs and cultures. The works were rich in critics and promoted respect for the western cultures. One of his renowned plays was “Dewi Reni” that promoted the theme of the struggle for independence in Indonesia. The call for nationalism based on Islamic religion was evident in the play. The play conveys the message that the nationalists’ movement was strong when based on religion, Islamic tradition in this case. This is a clear depiction of the role of the Islamic tradition in dictating the orientation of Indonesian theatre at that time in history. The call for nationalists to pledge for independence on religious grounds formed the main theme of other plays by Hanifah. His play, “Taufan Diatas Asia”, addressed the great struggle that marked the South Pacific War. Once again, this play pledged for the Indonesian protagonists in the war to base their struggle on the foundations of the Islamic religion. The third play by Hanifah, “Itelek Istimewa”, advocated for nationalism based on Islamic religion. The thematic similarity in the plays by Hanifah on nationalists struggle for independence based on religious beliefs explains the influence of the Islamic traditions on the advancement of Indonesian theatre. It pays tribute to appreciate the influence of western cultures as among the factors that contributed to the progress of traditional theatre genres in Indonesia. A significant number of Indonesian artists studied in the west, who contributed vastly to the progress of Indonesian theatre. Spoken theatre in Indonesia also experienced the influence of the western culture. Western writers also played a great role in writing plays that were acted in most theatres in Indonesia. The Studiklub Teater, set in 1958, is an example of theatre troupes that staged plays written from the west. Teguh Karya, who studied in the west, is famous for his achievements of the formation of Teater Populer. Most of the works in the staged by the troupe were from the westr including the plays of Shakespeare. The development of theatre in Indonesia emerged from the pre-colonial to advance to the postcolonial era. Theatrical performances in modern Indonesia trace their development from the pre-colonial era traditions. The contribution of the mestizo in the development of subsequent theatre genres in Indonesia is plausible and of recommendable relevance. An Indonesian theatre transition, in terms of change in genres, was a progress that occurred alongside serious opposition from tyrant political leaders. Asia has a collection of highly appreciated artistic work in its Theatre s including those from India, China and Japan. The historic traditions of the Asian community had high contribution towards the nurturing and fostering of present day theatre. Indonesia consists of diversity in cultures and languages because of its extensiveness and rich population (Titon 213). This creates its cultures and traditions of plausible influence in theatre. The extent of foreign influence on Indonesia is great and affects art and theatre in the country. The country also respects the influence of its five recognized religions in shaping interactions and social life including theatre. This level of diversity in Indonesia, based on different considerations, enriches the national theatre. The proclamation of that embraced a single language for Indonesia further brought a serious advancement to the national theatre. The national theatre, therefore, brags of the diversity from which it was created of which aspects it must display. In embracing the diversity of its formation, the national theatre promotes several traditional genres that emanate from every culture’s traditional artistry. The growth of Indonesian theatre has taken a progressive direction and successful because of its inclusion of traditional genres. It is a trans-ethnic platform. Work Cited Barbara, Hatley. Indonesian Theatre Ten Years after Reformasi. Journal of Indonesian Social Sciences and Humanities 1(2008): 53–72. Print. Barbara, Hatley. Javanese Performances on an Indonesian Stage: Contesting Culture, Embracing Change. Singapore: NUS Press, 2008. Print. Brooks, Ann. Social Theory in Contemporary Asia. New York, NY: Routledge, 2010. Print. Titon, Jeff. Worlds of Music: An Introduction to the Music of the World's Peoples, Shorter Version. Boston, MA: Cengage Learning, 2009. Print. Read More