Journal articles on the topic 'Theater and society Indonesia'
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1
Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.
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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.
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Sadono, Bambang, and Fendy E. Wahyudi. "Theater of Macro: Trap of 'Macroism' in Indonesian Inequality." E3S Web of Conferences 73 (2018): 10018. http://dx.doi.org/10.1051/e3sconf/20187310018.
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The debate on economic prosperity can be drawn into issue of the best indicators that able to portray the real picture of one country's economy. In this article I try to elaborate that focusing only on Macro economic indicator is misplaced for describing the real image of economic situation of a country. By focusing on inequality index this paper explained the Indonesia Economic situation post Suharto era. The recent Indonesian experience clearly demonstrate the way in which inequality still becomes the peril in Indonesian society.
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Danastri, Dhiaz, Putri Dwirizky, and Tonie Kurniawan. "KOMA THEATER’S MARKETING THROUGH SOCIAL MEDIA CASE STUDY: 'GEMINTANG' SHOW." Dinasti International Journal of Digital Business Management 2, no. 1 (December 10, 2020): 44–54. http://dx.doi.org/10.31933/dijdbm.v2i1.635.
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For around 41 years, Theater Koma did not stop working. Continued to produce until its name is increasingly known, then holds a special place in the hearts of its fans. It's not an easy thing to maintain a theater community which in Indonesia is not yet popular. As the times changed, slowly but surely, Theater Koma's audience entered a period of regeneration. Performing arts production requires proper marketing techniques so the show could be accepted by the target community. Social media is a massive growth area for online marketers and one of which has potential to offer highly targeted advertising to specialized social groups. The transition of Theater Koma's marketing technique from offline to the digital world by utilizing social media needs to be developed because it is important in effort to regenerate the audience. This scientific was made written by conducting field observations during production process of the “Gemintang” show from mid-April 2018 to July 15 2018. This research aims to let us know the marketing techniques which have been applied to production of “Gemintang” show. This research concludes that awareness of the need for the existence of an art group is not only proven by work productivity itself, but how the work could be recognized and accepted by various segments of society which current entered the digital era.
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Arvianita, Ihza, and Yuli Eko Basuki. "Pertunjukan Amal: Dana Awal Perjuangan Rakyat di Yogyakarta 1945-1947." Lembaran Sejarah 18, no. 1 (January 10, 2023): 25. http://dx.doi.org/10.22146/lembaran-sejarah.80450.
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This research discusses the existence of charity shows in Yogyakarta as one of the people’s efforts to support the financial needs of independence struggle bodies. As the capital of the revolution, Yogyakarta’s atmosphere was filled with patriotic spirit to defend independence, and its society supported the birth of struggle organizations. To finance their activities, people conducted fundraising activities, such as by organizing charity shows. This method was chosen because of its effectiveness in mobilizing charity-fund from society, since at the same time they also enjoyed entertainment. The shows were presented in the form of theater and cinema. From these charity shows, the collected funds were distributed to various independence struggle bodies such as People’s Militia, Independence Funds Agency, and the Indonesian Red Cross (PMI).
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Rengganis, Ririe. "SASTRA IDEALIS VERSUS INDUSTRI KREATIF: STUDI KASUS FILM NAY SEBAGAI BENTUK FILMISASI NOVEL NAYLA KARYA DJENAR MAESA AYU." Jurnal Pena Indonesia 3, no. 1 (May 19, 2017): 40. http://dx.doi.org/10.26740/jpi.v3n1.p40-58.
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Idealism in literary studies often confronted with other interests embedded within the study. In addition to beautiful, literature must have utility for the people who enjoy it in the form of works, among which is a form of (prose) and the film (screenplay and theater). Either in the form of a novel (prose) or in the form of a film, idealism is not to be found entirely because there are some considerations due to the interests attached to them. These considerations include, first, the sensor associated with the norms that exist in people's lives in Indonesia, and secondly, related to the interests of owners of capital to finance the cost of production of the idealistic work to be conveyed to the public audience. Censorship in the film and the work done through the use of language of the author. This is done because the language in the works are an expression of the author as Lacan statement in the theory of subjectivity. In this paper, idealism within Djenar Maesa Ayu (DMA) as the author of the novel Nayla as well as a screenwriter and film director Nay is also expressed through the language of metaphor and metonymy are loaded in order to avoid censorship. The use of metaphor and metonymy that do DMA also consider the norms as reflected in Indonesian society.
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Juned, Sulaiman. "Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH." Dance and Theatre Review 3, no. 1 (October 19, 2020): 26. http://dx.doi.org/10.24821/dtr.v3i1.4412.
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AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality
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Witjitra Wening, Warih. "Theather As an Awakening Vaccine (Brechtian Concept)." Terob : Jurnal Pengkajian dan Penciptaan Seni 12, no. 1 (October 1, 2021): 40–48. http://dx.doi.org/10.20111/terob.v12i1.28.
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As soon as this article discusses the theateropportunity as anawakening vaccine in Indonesian society during the Covid 19pandemic. Art has become the most powerful medium to reach thepublic area in the middle of a fairly tension and uncertain nationalsituation. This discussion will present Bertolt Brecht concept ofthinking in a different form of thought, but the author believes that inthe social condition that occurs in the middle of Indonesian peoplewho are panicking, theater is the right solution. Brechtian concept hasthe idea that allapparatus of performance, including audiences arerequired to stay apart nowadays, this is a reality that examines artistsand audiences due to physical distancing from the actual theater.Nobody realizes that the concept of verfremdungsefekt which isdefined as isolation, distance, or alienation is now becoming morepowerful in the middle of the pandemic. The basic thinking makes thewriter believe that to create a healthy physical condition, theatervaccineis the answer as awareness both conceptually in performanceand in presentational performance fragment, the author thinks that it isa strategy in the social condition nowadays
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Wongso, Risabella, Wegig Murwonugroho, and Agung Eko Budi Waspada. "ANALISA PERANCANGAN PUSAT PERFILMAN H. USMAR ISMAIL TERHADAP KEPUASAN PENGUNJUNG." Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain 3, no. 2 (June 9, 2021): 189. http://dx.doi.org/10.25105/jsrr.v3i2.9433.
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<p>Abstract<br />The increasing number of activities a person will cause stress which certainly can affect the intensity of<br />someone in carrying out the routine. Everyone is looking for various ways to deal with stress that can<br />affect a person’s appearance to be less attractive. Modern society tends to deal with stress by enjoying<br />entertainment, such as watching movies. The Haji Film Center Usmar Ismail is listed as the only film<br />center in Indonesia. However, this film center still requires more precise and attractive interior design<br />processing in the layout, interior elements, furniture, lighting, and signage. By seeing the importance of<br />the influence of interior design on the film center, the Hajj Usmar Ismail Film Center was chosen to be<br />designed with the aim of increasing comfort and convenience for its users. In this design, data collection<br />is done through field surveys and literature studies.<br /><strong>Keywords: interior design, theater center, film center, archive, Indonesian films.</strong></p><p><br />Abstrak<br />Semakin banyaknya aktivitas seseorang akan mengakibatkan stress yang tentunya dapat<br />mempengaruhi intensitas seseorang dalam melaksanakan rutinitas. Setiap orang mencari<br />berbagai cara untuk mengatasi stress yang dapat akan berpengaruh terhadap penampilan<br />seseorang menjadi kurang menarik. Masyarakat modern cenderung untuk menangani stress<br />tersebut dengan menikmati hiburan, seperti menonton film. Pusat Perfilman Haji Usmar<br />Ismail tercatat sebagai satu satunya pusat perfilman di Indonesia. Namun, pusat perfilman<br />ini masih memerlukan pengolahan desain interior yang lebih tepat dan menarik pada bagian<br />layout, elemen interior, furniture, pencahayaan, dan signage-nya. Dengan melihat pentingnya<br />pengaruh dari perancangan interior pada pusat perfilman, maka Pusat Perfilman Haji Usmar<br />Ismail dipilih untuk dirancang dengan tujuan agar dapat meningkatkan kenyamanan dan<br />kemudahan bagi para penggunanya. Pada perancangan ini, pengumpulan data dilakukan<br />melalui survei lapangan dan studi literatur.<br /><strong>Kata kunci: perancangan interior, interior pusat perfilman, pusat perfilman, pengarsipan, perfilman Indonesia.</strong></p>
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Meilinda, Meilinda. "Understanding Domestic Violence in Indonesia Through a Play-with-music: A Story of Wounds." k@ta 23, no. 2 (December 20, 2021): 77–85. http://dx.doi.org/10.9744/kata.23.2.77-85.
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The number of domestic violence is 50% out of violence against woman cases in Indonesia. This condition is intriguing to analyse. There must be a reason behind rising number of crimes related to inequality of women position in the society. One of the ways that can be used to reflect on this subject is through theatre. It is a work of art that can be used to discuss and inspire a necessary social change or social agenda. Therefore, applying textual analysis method on A Story of Wounds, a play by Jessie Monika, I would like to find the reasons behind that inequality to find the core problem of domestic violence as portrayed in ASoW. I utilize Bourdieu’s capital, habitus and field theory to prove that inequality between the wife and the husband, the deeply rooted patriarchy values create imbalance power that open opportunity for domestic violence toward women.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 1 (2008): 134–220. http://dx.doi.org/10.1163/22134379-90003683.
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Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden
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Puspitasari, Ni Wayan Radita Novi. "Power and religion: Geertz position of present-day Bali." Jurnal Kajian Bali (Journal of Bali Studies) 7, no. 1 (May 18, 2017): 249. http://dx.doi.org/10.24843/jkb.2017.v07.i01.p13.
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This article analyzes the changes of religious - political power relations from the mid of 1950’s to present-day Bali. Anthropologist Geertz stated that Balinese Hinduism is a “superstition”, “rhetoric” and “state cult” that had been applied in the Negara as a theatre state. Within the conception of Hinduism by referring to the relation between the Divine God -Tri Murti and Tri Hita Karana, the Balinese society is believed in the relation between Gods, the people and its environment. Although in the post-colonial era, Balinese people are maintaining the power existence of the local kingdoms, mainly the system of warna. Through the accumulation of charisma, Geertz provided a concept that Negara was basically a state created by honor and ceremony. Thus, the democratic governmental system of Indonesia hardly reach the political arena within the Balinese society. As a result, through the self-awareness and the notion on equality, the Sudra could establish their role as an influential Balinese personage.
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Rafianti, Laina, and Ahmad M. Ramli. "HARMONIZING CULTURAL DIPLOMACY AND COMMERCIALIZATION OF TRADITIONAL CULTURAL EXPRESSIONS: CASE STUDY ON I LA GALIGO THEATRICAL PERFORMANCE." Humanities & Social Sciences Reviews 8, no. 4 (September 17, 2020): 1180–89. http://dx.doi.org/10.18510/hssr.2020.84112.
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Purpose: Indonesia is protecting Traditional Cultural Expressions (TCEs) by communal Copyright Law. In the case of I La Galigo, performers used one of Bugis's ancient literary works on theatre. Bugis people believe that there was a misappropriation of Bugis culture. This paper evaluates how cultural diplomacy gives benefit to the Bugis people and how to do Copyright law support I La Galigo theatrical performers.
Methodology: From a methodological standpoint, this paper used both a normative and ethnography-legal research approach in data collection.
Main Findings: Any society in Indonesia including the Bugis people has the freedom to preserve and develop their cultural values.
Implications/Applications: The importance of harmonizing implementing legislation in protecting performers of traditional cultural expressions is very much needed. TCEs inscription as defending protection, its dissemination including cultural diplomacy, and its utilization become three chains supporting each other for the treatment of TCEs in the future.
Novelty/Originality of this study: The research of I La Galigo theatrical performance in legal particularly traditional cultural expressions perspective has never been done by other researchers.
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Cohen, Matthew Isaac. "Reading “Suluk Wayang”: Javanese Shadow Puppets, “Nala”-Vision, Private Self, Bodily Self." Journal of the Royal Asiatic Society of Great Britain & Ireland 12, no. 2 (July 2002): 167–86. http://dx.doi.org/10.1017/s1356186302000238.
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AbstractWayang kulit (shadow puppet theatre; henceforth “wayang”) as practiced in Java (Indonesia) has been recognized by exegetes – European and Indonesian alike – for its centrality as both a performative vehicle for and a symbolic figuration of understandings of the human developmental cycle, the variety of character models available to individuals, the precarious balance of chaos and stability in society, and kinship dialectics of conflict and complementariness. It is Java's most complex art form, in terms of dramaturgy, music, and repertoire, and also one of its most highly mediated. The beginning of what I would like to discuss is located at the end of Ward Keeler's exemplary ethnography of Central Javanese wayang and the dialogical play of selves and others in relations of hierarchy. Keeler concludes his evocative account of Javanese selves and theatre (and here I paraphrase) with the statement that “the peculiar fascination” of the dhalang in Javanese culture stems from his ability to dissimulate his self in performance. The puppeteer's voice is splintered, his presence veiled by a screen and mediated by puppets and the constraints of tradition, and his authority derived from indirect relations to a ritual sponsor, the Javanese autarchy, the ancestors, and the unseen world. “He is at once a dissembled authority, one whose power is great, non-coercive, and unworldly, and a dissembled interpreter, one who mediates between an unreal but persuasive and distracting world, and our own”.
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Wrahatnala, Bondet. "CONGWAYNDUT: REFLEKSI FUNGSIONALISME STRUKTURAL SENI PERTUNJUKAN YANG MELINTAS BATAS." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (May 7, 2021): 116–23. http://dx.doi.org/10.33153/acy.v12i2.3576.
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Abstract This paper positions itself as a study that portrays the Keroncong Wayang Gendut (Congwayndut) performance, as performance art that reflects structural functionalism. Because Congwayndut explicitly contained aspects of structural functionalism. In this paper, Congwayndut is positioned as an organism that has a structure and functions socially and culturally. Congwayndut is one of the many performing arts groups capable of interpreting traditional art in contemporary, meaning that it responds to the millennial generation with the construction of traditional performances, namely shadow puppet art. . Congwayndut has an important role in the development process or as a performance art model that accommodates other art disciplines, including music, wayang, theater, script, visuals, dramaturgy, which are combined as a typical Indonesian performance art prototype. Therefore, the structural-functional point of view emerged, as a step to explain to the public about the cultural phenomena experienced by Congwayndut. Structural functionalism was born as a reaction against the theory of evolution. If evolutionary studies aim to establish the stages of human cultural development, then structural-functionalism studies aim to build a social system, or social structure, through the study of the functioning patterns of relations between individuals, between groups. -groups, or between social institutions in a society, at a certain period of time. Keywords: Congwayndut, Cross-Border Performing Arts, Structural Functionalism Abstrak Tulisan ini, memposisikan diri sebagai kajian yang memotret pertunjukan Keroncong Wayang Gendut (Congwayndut), sebagai seni pertunjukan yang merefelksikan fungsionalisme struktural. Karena di dalam Congwayndut secara eksplisit terkandung aspek fungsionalisme struktural. Congwayndut di dalam tulisan ini diposisikan sebagai organisme yang memiliki struktur, dan memiliki fungsi secara sosial budaya.Congwayndut adalah satu satu dari sekian banyak kelompok seni pertunjukan, yang mampu menafsir seni tradisi secara kekinian, artinya merespon generasi milenial dengan konstruksi pertunjukan tradisi yakni kesenian wayang kulit. Congwayndut memiliki peran penting dalam proses pengembangan atau sebagi model seni pertunjukan yang mengakomodir disiplin seni yang lain, ada musik, wayang, teater, naskah, rupa, dramaturgi, yang dijadikan satu sebagai purwarupa seni pertunjukan yang khas Indonesia. Oleh sebab itu lah sudut pandang struktural fungsional muncul, sebagai langkah untuk menjelaskan kepada publik, tentang gejala fenomena budaya yang dialami oleh Congwayndut. Fungsionalisme struktural lahir sebagai reaksi terhadap teori evolusi. Jika tujuan dari kajian-kajian evolusi adalah untuk membangun tingkat-tingkat perkembangan budaya manusia, maka tujuan dari kajian-kajian fungsionalisme struktural adalah untuk membangun suatu sistem sosial, atau struktur sosial, melalui pengajian terhadap pola hubungan yang berfungsi antara individu-individu, antara kelompok-kelompok, atau antara institusi-institusi sosial di dalam suatu masyarakat, pada suatu kurun masa tertentu. Kata Kunci : Congwayndut, Seni Pertunjukan Lintas Batas, Fungsionalisme Struktural
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Bartsch, Shadi, and William J. Slater. "Roman Theater and Society." Phoenix 53, no. 1/2 (1999): 152. http://dx.doi.org/10.2307/1088131.
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Fernandez, Doreen G., and Resil B. Mojares. "Theater in Society, Society in Theater: Social History of a Cebuano Village, 1840-1940." World Literature Today 61, no. 1 (1987): 159. http://dx.doi.org/10.2307/40142695.
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Hatley, Barbara. "Contemporary Indonesian Theatre in the Regions: Stage Idiom and Social Referentiality." Theatre Research International 19, no. 1 (1994): 17–28. http://dx.doi.org/10.1017/s0307883300018782.
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In 1973, the poet and essayist Goenawan Mohamad wrote a lengthy and incisive defence of contemporary Indonesian theatre (that is to say, modern, Indonesian language plays of roughly the mid-60s onwards) against the complaints of its critics.1 The lack of dramatic and psychological development noted in many plays, the sketchy scripts, bizarre dramatic happenings, showy settings and inappropriate mixture of comic and serious elements—all of these purported ‘faults’, in Goenawan's view, were associated with the great strength of contemporary Indonesian theatre, its concern with the process of performance, and with intimate communication with its audiences. Previous playwrights had written worthy, wordy ‘schoolroom’ dramas, and members of a small European-educated élite performed them, for an amorphous, universal ‘general public’. Their view that the current minority position of modern theatre would strengthen as Indonesian society became better educated, at the same time revealed a sense of distance between plays and their public. But for the new breed of playwrights, people like Rendra, Arifin Noer and Putu Wijaya, who directed and performed in their own plays and were fully involved in the totality of production,2 there was no such gap. Spectacle and humour, colloquial, everyday language, and the improvisatory possibilities of sketchy scripts, served to entertain, engage and involve audiences drawn from a particular sector of society. Theatre audiences were identified by Goenawan as overwhelmingly young, educated but not used to reading. They had been brought up in a ‘post-literate’ culture of radio, television and film, influenced in some ways, certainly in its group-oriented entertainment habits, by the ‘pre-literate’ aural-oral regional cultures of their parents.
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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 166, no. 1 (2010): 107–83. http://dx.doi.org/10.1163/22134379-90003627.
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Syed Muhd Khairudin Aljunied, Rethinking Raffles; A study of Stamford Raffles’ discourse on religions amongst Malays. (Nathan Porath) Walter Angst, Wayang Indonesia; Die phantastische Welt des indonesischen Figurentheaters/The fantastic world of Indonesian puppet theatre. (Dick van der Meij) Adrienne Kappler and others, James Cook and the exploration of the Pacific. (H.J.M. Claesen) Aurel Croissant, Beate Martin and Sascha Kneip (eds), The politics of death; Political violence in Southeast Asia. (Freek Colombijn) Frank Dhont, Kevin W. Fogg and Mason C. Hoadley (eds), Towards an inclusive democratic Indonesian society; Bridging the gap between state uniformity and multicultural identity patterns. (Alexander Claver) Bronwen Douglas and Chris Ballard (eds), Foreign bodies; Oceania and the science of race, 1750-1940. (H.J.M. Claesen) Ricky Ganang, Jay Crain, and Vicki Pearson-Rounds, Kemaloh Lundayeh-English dictionary and bibliographic list of materials relating to the Lundayeh-Lun Bawang-Kelabit and related groups of Sarawak, Sabah, Brunei and East Kalimantan. (Michael Boutin) Jeffrey Hadler, Muslims and matriarchs; Cultural resilience in Indonesia through Jihad and Colonialism. (Franz von Benda-Beckmann) Uli Kozok, Kitab undang-undang Tanjung Tanah: Naskah Melayu yang tertua. (Arlo Griffiths) Alfonds van der Kraan, Murder and mayhem in seventeenth-century Cambodia; Anthony van Diemen vs. King Ramadhipati I. (Jeroen Rikkerink) Jean Michaud, ‘Incidental’ ethnographers; French Catholic missions on the Tonkin-Yunnan frontier, 1880-1930. (Nicholas Tapp) M.C. Ricklefs, Polarising Javanese society; Islamic and other visions (c. 1830-1930). (Matthew Isaac Cohen) Stuart Robson, Arjunawiwāha; The marriage of Arjuna of Mpu Kaṇwa. (Andrea Acri) László Székely and István Radnai, Dit altijd alleen zijn; Verhalen over het leven van planters en koelies in Deli (1914-1930). (Adrienne Zuiderweg) Patricia Tjiook-Liem (Giok Kiauw Nio Liem), De rechtspositie der Chinezen in Nederlands-Indië 1848-1942; Wetgevingsbeleid tussen beginsel en belang. (Mary Somers Heidhues) Zhou Daguan, A record of Cambodia: the land and its people. (Un Leang) REVIEW ESSAY Longitudinal studies in Javanese performing arts Benjamin Brinner, Music in Central Java; Experiencing music, expressing culture. Barbara Hatley, Javanese performances on an Indonesian stage; Contesting culture, embracing change. Felicia Hughes-Freeland, Embodied communities; Dance traditions and change in Java. (Matthew Isaac Cohen) REVIEW ESSAY Development and reform in Vietnam Stéphanie Balme and Mark Stephanie (eds), Vietnam’s new order; International perspectives on the state and reform in Vietnam. Sujian Guo, The political economy of Asian transition from communism. Ian Jeffries, Vietnam: a guide to economic and political developments. Pietro Masina, Vietnam’s development strategies. (Tran Quang Anh) KORTE SIGNALERINGEN Ulbe Bosma, Indiëgangers; Verhalen van Nederlanders die naar Indië trokken. Clara Brinkgreve, Met Indië verbonden; Een verhaal van vier generaties 1849-1949. Jack Botermans en Heleen Tichler, Het vergeten Indië; Stille getuigen van het dagelijks leven in het Indië van toen. Robin te Slaa en Edwin Klijn, De NSB; Ontstaan en opkomst van de Nationaal-Socialistische Beweging, 1931-1935. Mark Loderichs, Margaret Leidelmeijer, Johan van Langen en Jan Kompagnie, Verhalen in Documenten; Over het afscheid van Indië, 1940-1950. Frederik Erens en Adrienne Zuiderweg, Linggadjati, brug naar de toekomst; Soetan Sjahrir als een van de grondleggers van het vrije Indonesië. Peter Schumacher, met medewerking van Gerard de Boer, De zaak Aernout; Hardnekkige mythes rond een Indische moord ontrafeld. Cas Oorthuys, Een staat in wording; Fotoreportage van Cas Oorthuys over het Indonesië van 1947. René Kok, Erik Somers en Louis Zweers, Koloniale oorlog 1945-1949; Van Indië tot Indonesië. H.F. Veenendaal en J.P.W. Kelder, ZKH; Hoog spel aan het hof van Zijne Koninklijke Hoogheid; De geheime dagboeken van mr.dr.L.G. van Maasdijk. Ons Indië; 400 jaar Nederlandse sporen in Insulinde, de strijd om de onafhankelijkheid & 60 jaar Indonesië. (Harry A. Poeze)
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Davidson, Gordon, Robert Egan, and Robert Glaudini. "Theater and Society: "The Poison Tree"." Bulletin of the American Academy of Arts and Sciences 54, no. 3 (2001): 26. http://dx.doi.org/10.2307/3824684.
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Varianda, Mentari, Sahrul Nazar, and Roza Muliati. "TARI BALEGA DI TANAH MANANG KARYA SUSAS RITA LORAVIANTI DALAM KAJIAN DRAMATURGI TARI." Gorga : Jurnal Seni Rupa 10, no. 2 (December 21, 2021): 377. http://dx.doi.org/10.24114/gr.v10i2.27465.
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Balega di Tanah Manang is an attempt to express the situation and condition of Minangkabau society in a matrilineal setting. This study discusses the practice of dance dramaturgy in the creation of Balega di Tanah Manang by Susas Rita Loravianti. The work of creation through the birth of dramaturgical forms and concepts seen in dramaturgical practice. The pattern of work in the creation process through the views of the choreographer and dramaturg in their work. The practice of dialogue between the choreographer and dramaturg is carried out. The research method uses a dramaturgical approach, which is an approach that focuses on the circle of work patterns carried out in the creative process of dance creation and production by dramaturg and a choreographic approach in seeing the form of the work by the choreographer.Keywords: balega di tanah manang, dramaturgy.AbstrakTari Balega di Tanah Manang merupakan upaya mengekspresikan situasi dan kondisi masyarakat Minangkabau dalam tatanan matrilinial Penelitian ini membahas praktik dramaturgi tari dalam penciptaan Balega di Tanah Manang karya Susas Rita Loravianti. Kerja penciptaan melalui pelahiran bentuk dan konsep dramaturgi yang dilihat dalam praktik dramaturgi. Pola kerja dalam proses penciptaan melalui pandangan koreografer dan dramaturg dalam tugasnya. Adanya praktik dialog antara koreografer dan dramaturg yang dilakukan. Metode penelitian menggunakan pendekatan dramaturgi, yaitu pendekatan yang terpusat pada lingkaran pola kerja yang dilakukan dalam proses kreatif penciptaan dan produksi tari oleh dramaturg dan pendekatan koreografi dalam melihat bentuk karya oleh koreografi. Kata Kunci: balega di tanah manang, dramaturgi. Authors: Mentari Varianda : Institut Seni Indonesia PadangpanjangSahrul Nazar : Institut Seni Indonesia PadangpanjangRoza Muliati : Institut Seni Indonesia Padangpanjang References:Denzi, Norman K Dan Yvonna S. Lincoln (Eds). (2009). Handbook Of Qualitative Research. Terj. Dariyatno Dkk. Yogyakarta: Pustaka Pelajar.Hansen, Pil Dan Darcey Callison. (2015). Dance Dramaturgy: Modes Of Agency, Awareness And Engagement. United Kingdom: Palgrave Macmillan.Loravianti, Susas Rita. (2003). Karya Tari Perempuan Dalam Kaba. Laporan Karya. Padangpanjang : Isi Padangpanjang.Loravianti, Susas Rita. (2014). Tari Garak Nagari Perempuan. Laporan Karya. Surakarta: Isi Surakarta.Loravianti. (2020). “Dramaturgi”. Hasil Wawancara Pribadi: 23 Oktober 2020, Guguak Malintang.Luckhurts, Mary. (2005). Dramaturgy: A Revolution In Theatre. New York: Cambrige University Press.Mulyadi Seto, Dkk. (2019). Metode Penelitian Kualitatif Dan Mixed Method. Depok: PT. Rajagrafindo Persada.Murgiyanto, Sal. (2016). Kritik Pertunjukan dan Pengalaman Keindahan. Jakarta: Penerbit Pascasarjana–Ikj (Institut Kesenian Jakarta).Raihan. (2018). “Gerak Dinamika”. Hasil Dokumentasi Pribadi: 09 Juli 2018, Studio Tari ISI Padangpanjang.Simatupang, Lono. (2013). Pergelaran : Sebuah Mozaik Penelitian Seni – Budaya. Yogyakarta : Jalasutra.Sugiyono. (2007). Metode Penelitian Kuantitatif, Kualitatif Dan R&D. Bandung: Alfabet.Wulan, Sari Renee. (2019). Dramaturgi : Sesuatu Yang Dekat. https://gelaran.id/dramaturgi-tari-sesuatu-yang-dekat (diakses 30 Desember 2019).Yudiaryani, dkk. .(2017). Karya Cipta Seni Pertunjukan. Yogyakarta: JB Puplisher Bekerjasama Dengan Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.
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Saefudin, NFN. "TEATER TUTUR BAPANDUNG DALAM MASYARAKAT BANJAR." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 15, no. 2 (December 1, 2019): 107. http://dx.doi.org/10.26499/und.v15i2.1525.
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The problem discusses in this study is how does the form of narrative theater bapandung (monologue) in Banjar society. The aim of this study is to reveal the form of narrative theater bapandung (monologue) in Banjar society. Banjar society in South Kalimantan has lots of oral traditions, one of them is narrative theater bapandung. A man is called story teller because of his cleverness telling a story in monologue way and playing several characters, that man is called pamandungan. The story in bapandung has lots of jokes played by pamandungan or the performance player. This study uses descriptive qualitative method. It is a method to get information about narrative theater bapandung in Banjar society deeply. The result shows about the description of narrative theater bapandung in Banjar society.
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Firdaus, Veby Sabrina. "ACARA PERAGAAN BUSANA "TRUCE: THE TRUE ELUCIDATION OF CYBERBULLYING"." Commed : Jurnal Komunikasi dan Media 3, no. 1 (February 6, 2019): 79. http://dx.doi.org/10.33884/commed.v3i1.609.
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Internet is one of the newest medias that has been commonly used by the public. One of the problems which has been happening very often lately is the misuse of the internet mostly done by teenagers in Indonesia on social media, where social media is often used as a tool of cyberbullying. This fact is the main reason why the creators made an event that is also a campaign to spread awareness and invitation to not do cyberbullying with the social media influencers and teenagers as our main target audience. The event was a fashion show mixed with theatre acting and hip hop music. The main theme shown for this fashion show is Street Style with a touch of hip hop music because lately, hip hop is one of the popular music genres among society, especially the young people. Hip hop is considered to be a popular genre because it is known for its critical lyrics with deep meanings. The creators use theories such as Event Management Theory, Fashion Show Theory, Music Theory, Theatrical Theory, Social Criticism Theory, Social Message Theory, Cyberbullying Theory and Social Media Theory. The main theories that are used are Campaign Theory and K. Berlo's Communication Theory. The creators held this event entitled “TRUCE" which means The True Elucidation of Cyberbullying. The creators hope that this event will have an effect in the eyes of the general public and prevent themselves to not do cyberbullying.
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Porter, John R., and Ruth Scodel. "Theater and Society in the Classical World." Phoenix 50, no. 1 (1996): 77. http://dx.doi.org/10.2307/1192686.
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Sellars, Peter, and Edward W. Said. "Theater Opera & Society: The Director's Perspective." Grand Street, no. 61 (1997): 192. http://dx.doi.org/10.2307/25000127.
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Pahomov, George, and E. Anthony Swift. "Popular Theater and Society in Tsarist Russia." Slavic and East European Journal 47, no. 4 (2003): 693. http://dx.doi.org/10.2307/3220262.
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Nurhadi, Nurhadi. "Lokasi Dan Kelompok Teater Indonesia 2001-2005 (Analisis Rubrik Teater Majalah Tempo)." ATAVISME 13, no. 1 (June 30, 2010): 15–32. http://dx.doi.org/10.24257/atavisme.v13i1.141.15-32.
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Artikel ini bertujuan mendeskripsikan kelompok-kelompok teater yang berkecimpung dalam pementasan teater di Indonesia dan peta lokasi pementasan sebagaimana diulas dalam majalah Tempo tahun 2001-2005. Hasil penelitian ini menunjukan kelompok teater yang paling konsisten dalam mementaskan suatu naskah setiap tahunnya adalah Teater Koma. Kelompok teater berikutnya yang relatif banyak berkiprah dari tahun 2001-2005 berdasarkan artikel rubrik teater Tempo yaitu Teater Mandiri, Teater Garasi, dan Actors Unlimited Bandung. Kelompok teater pada jajaran berikutnya yang mementaskan lebih dari satu kali pada periode 2001-2005, yaitu Teater Gandrik, Bengkel Teater, dan Mainteater Jakarta. Lokasi pementasan teater selama 2001-2005 berdasarkan rubrik teater majalah Tempo sebagian besar berlangsung di berbagai gedung teater di Jakarta. Perbandingan jumlah lokasi pertunjukannya adalah sebagai berikut: Jakarta (50 pementasan), Yogyakarta (6 pementasan), Surakarta (2 pementasan) dan Bandung (1 pementasan).
Abstract:
This article aims to describe the theater groups being active in theater performances in Indonesia and the performance location map as reviewed in Tempo magazine in 2001-2005. The research result has shown that the most consistent theater group in performing a script each year is Teater Koma. The next group which have relatively many performances in 2001-2005 according to Tempo’s articles are Teater Mandiri, Teater Garasi, and Actors Unlimited Bandung. The next level groups which have more than one performance in 2001-2005 are Teater Gandrik, Bengkel Teater, and Mainteater Jakarta. The theater performance locations in 2001-2005, according to Tempo’s articles, mostly took place in Jakarta’s theater houses. The ratio of performance locations amount is as follows: Jakarta (50 performances), Yogyakarta (6 performances), Surakarta (2 performances), and Bandung (1 performance).
Key Words: theater performance location, theater group, Tempo magazine
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Lindsay, Jennifer. "Performance and political change in Indonesia." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 2-3 (2011): 303–8. http://dx.doi.org/10.1163/22134379-90003593.
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Review of: Michael H. Bodden, Resistance on the national stage: Theater and politics in late New Order Indonesia. Barbara Hatley, Javanese performances on an Indonesian stage: Contesting culture, embracing change.
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Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.
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Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.
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M., Juraeva, and Gofurova B. "FURKAT AND THEATER." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 10 (October 1, 2021): 118–24. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-23.
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This article tells the story of Furkat, an enlightened poet, a promoter of science and European educational culture, and Russian theater.Furkat’s attitude to Russian culture and art was of fundamental importance at that time, in the late 18th and early 19th centuries. "The main and decisive issue of the time was the attitude to Russia, whether to join Russia or not, because the fate of the Uzbek people and the country, the future depended on the correct definition of this future, the right approach to this issue, the right solution," wrote Academician V.Y.Zahidov. Accordingly, the social forces fighting in the society were divided into two groups, and there were violent clashes between the two groups."In such a difficult situation, Furkat dreamed of bringing his people to the path of cultural development. His views on Russian theater and music were also related to this main issue of the time.However, this aspect of Furkat’s creative work has not been sufficiently studied in theater studies. What performances did Furkat see and what concerts did he attend? Some researchers have speculated that Furkat was only in performance “Suvorov”. That’s why we want to talk about it in more detail.
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Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.
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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where you can live: watch a movie, buy food or clothes, talking with friends, check bank details, play, etc. This profound change in society also comes to literature in general and theater in particular. Within this giant free showcase that is Internet, every author and every theater company seeks its place in order to be visible to the world. In this paper, we review the dierent ways in which the theater appears on the Internet and present a systematic and detailed analysis of the Internet presence of twenty companies of Spanish theater with very dierent idiosyncrasies that reect the current Spanish theater scene.
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Pabel, Hilmar M., and J. A. Fernandez-Santamaria. "The Theater of Man: J. L. Vives on Society." Sixteenth Century Journal 30, no. 2 (1999): 487. http://dx.doi.org/10.2307/2544718.
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Steever, Sanford B., and R. S. Perinbanayagam. "The Karmic Theater: Self, Society and Astrology in Jaffna." Journal of the American Oriental Society 105, no. 1 (January 1985): 187. http://dx.doi.org/10.2307/601582.
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Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.
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Fernandez-Santamaria, J. A. "The Theater of Man: J. L. Vives on Society." Transactions of the American Philosophical Society 88, no. 2 (1998): i. http://dx.doi.org/10.2307/1006630.
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Goldberg, Sander M. "Roman Theater and Society ed. by William J. Slater." Comparative Drama 31, no. 4 (1997): 589–92. http://dx.doi.org/10.1353/cdr.1997.0034.
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Henderson, Jeffrey. "Theater and Society in the Classical World. Ruth Scodel." Classical Philology 90, no. 1 (January 1995): 77–82. http://dx.doi.org/10.1086/367446.
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Müller, Sven Oliver. ":The Swastika and the Stage: German Theater and Society, 1933–1945.(Cambridge Studies in Modern Theater.)." American Historical Review 114, no. 2 (April 2009): 496–97. http://dx.doi.org/10.1086/ahr.114.2.496.
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López Pérez, Sidoní. "Confrontation and reconcilement in contemporary native american theater." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (December 27, 2022): 1–10. http://dx.doi.org/10.37467/revhuman.v11.4344.
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Contemporary Native American theater consists of a long list of plays which normally include indigenous and mixed-blood characters who often find themselves living between two worlds, that is, Native culture and white American society. Therefore, it is common to find a significant confrontation and conflict between the two cultures, which is usually solved at the end of the plays with the characters’ reconcilement or synthesis between their Native heritage and the white domineering society. In this way, Native Americans can ensure their Native cultural existence and survival whilst simultaneously adapting to the changes and customs required by white American society.
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Cammack, Mark, and Timothy Lindsey. "Indonesia: Law and Society." Indonesia 68 (October 1999): 187. http://dx.doi.org/10.2307/3351303.
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Рой, Уляна. "До історії постановки драми Війт заламейський на сцені українського народно- го театру товариства „Руська Бесіда” (переробка Івана Франка з п’єси Педро Кальдерона Саламейський алькальд)." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 123–36. http://dx.doi.org/10.15804/pomi201508.
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To the Hixtory of Staging The Mayor of Zalamea on the Stage of Rux’ (Uhrainian) National Theater of the Society „Ruska Besida" (the Rehash of Franko from the Play of Pedro Calderon The Mayor of Zalamea). Ukrainian theater of the society Ruska Besida was one of the essenfial components in the development of Ukrainian culture in Eastern Galicia. Cultural development was also provided by the acfivifies of Ivan Franko. His work for the theater was often underesfimated and superficially studied. This was especially true when the rehash of Ivan Franko The Mayor of Zalamea appeared in the repertoire. The history of staging of this play is important to the history of Ukrainian theatre.
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KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 164, no. 1 (2008): 102–66. http://dx.doi.org/10.1163/22134379-90003701.
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Trevor Wilson (ed.); Myanmar’s long road to national reconciliation (Jean A. Berley) Jennifer Lindsay (ed.); Between tongues; Translation and/of/in performance in Asia (Michael Bodden) Volker Grabowsky; Bevölkerung und Staat in Lan Na; Ein Beitrag zur Bevölkerungsgeschichte Südostasiens Peter Boomgaard) Odille Gannier, Cécile Picquoin (eds); Journal de bord d’Etienne Marchand; Le voyage du Solide autour du monde (1790-1792 (H.J.M. Claessen) Arjan van Helmond, Stani Michiels (eds); Jakarta megalopolis; Horizontal and vertical observations (Ben Derudder) Bert Scova Righini; Een leven in twee vaderlanden; Een biografie van Beb Vuijk (Liesbeth Dolk) Gerrit R. Knaap, J.R. van Diessen, W. Leijnse, M.P.B. Ziellemans; Grote Atlas van de Verenigde Oost-Indische Compagnie/ Comprehensive Atlas of the Dutch United East India Company; Volume II: Java en Madoera/Java and Madura (Amrit Gomperts) Nordin Hussin; Trade and society in the Straits of Melaka; Dutch Melaka and English Penang, 1780-1830 (Hans Hägerdal) Wilco van den Heuvel; Biak; Description of an Austronesian language of Papua (Volker Heeschen) Ann L. Appleton; Acts of integration, expressions of faith; Madness, death and ritual in Melanau ontology (Menno Hekker) Amity A. Doolittle; Property and politics in Sabah, Malaysia; Native struggles over land rights (Monica Janowski) Rajeswary Ampalavanar Brown; The rise of the corporate economy in Southeast Asia (J. Thomas Lindblad) Dwi Noverini Djenar; Semantic, pragmatic and discourse perspectives of preposition use; A study of Indonesian locatives (Don van Minde) Sherri Brainard, Dietlinde Behrens, A grammar of Yakan (Chandra Nuraini) Dietlinde Behrens; Yakan-English dictionary (Chandra Nuraini) Pierre Lemonnier; Le sabbat des lucioles; Sorcellerie, chamanisme et imaginaire cannibale en Nouvelle-Guinée (Anton Ploeg) Edgar Aleo and others; A voice from many rivers; Central Subanen oral and written literature. Translated and annotated by Felicia Brichoux (Nicole Revel) Joos van Vugt, José Eijt, Marjet Derks (eds); Tempo doeloe, tempo sekarang; Het proces van Indonesianisering in Nederlandse orden en congregaties (Karel Steenbrink) Nancy Eberhardt; Imagining the course of life; Self-transformation in a Shan Buddhist community (Nicholas Tapp) J.C. Smelik, C.M. Hogenstijn, W.J.M. Janssen; A.J. Duymaer van Twist; Gouverneur-Generaal van Nederlands-Indiё (1851-1856) (Gerard Termorshuizen) David Steinberg; Turmoil in Burma; Contested legitimacies in Myanmar (Sean Turnell) Carl A. Trocki; Singapore; Wealth, power and the culture of control (Bryan S. Turner) Matthew Isaac Cohen; The Komedie Stamboel; Popular theatre in colonial Indonesia, 1891-1903 (Holger Warnk) Jörgen Hellman; Ritual fasting on West Java (Robert Wessing) Waruno Mahdi; Malay words and Malay things; Lexical souvenirs from an exotic archipelago in German publications before 1700 (Edwin Wieringa) RECENT PUBLICATIONS Russell Jones, C.D. Grijns, J.W. de Vries, M. Siegers (eds); Loan-words in Indonesian and Malay VERHANDELINGEN 249 Peter Carey: The power of prophecy. Prince Dipanagara and the end of an old order in Java, 1785-1855
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Petrović, Miomir. "Theory of Freytag's pyramide and its applicability to modern literature." Drustveni horizonti 1, no. 2 (2021): 241–53. http://dx.doi.org/10.5937/drushor2102241p.
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Since the beginings, the theater has been often used for expressions of philosophical thought in the form of direct dialog. With theatrical positions it must be concluded that the theater often plays a part stands for para-theater operations and assigned to the limit when it became unclear whether this is a theater in general. However, the debate "for" or "against" engaged theater looks today more than out of place, since both have a clear opinion confirming the history of theater. If we look at the numerous theories of drama from a wider perspective, the perspective of the media, we immediately see that the theater aesthetics rests on the principles of mass communication, collective perceptions, interactions of the world scene and world audience and evoking event theater professionals cannot speak and not to talk, simultaniosly, about the world, society, the collective. It is clear that the dramatic literature has directly or indirectly involved, the nature of its invoices and creative means of expression.
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Yusupov, Dr Azat A. "FEATURES OF THEATER-SPECTATOR INTERACTION." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 11 (November 1, 2021): 68–72. http://dx.doi.org/10.37547/history-crjh-02-11-14.
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In this article, the traditions of perceiving the relationship between the theater and the actor exclusively as a performance and the artists playing in it were studied and analyzed, that the theatrical product is perceived by the theater workers themselves not as a volumetric and stereoscopic phenomenon, but, as a rule, is traditionally one-dimensional. Meanwhile, in modern society, theater acquires significance for the public not only as an art phenomenon, but also as an element of fashion, prestige, social status, the context of certain behavior, as a way of spending leisure time, self-presentation, education, etc.
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Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects." International Journal of Humanities and Innovation (IJHI) 3, no. 1 (March 31, 2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.
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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.
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Bosher, Kathryn. "Theater of the People: Spectators and Society in Ancient Athens." Phoenix 66, no. 3-4 (2012): 438–40. http://dx.doi.org/10.1353/phx.2012.0046.
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Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.
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Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.
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