Putu Wijaya in Performance

This is a tribute to one of the foremost writers and directors in Indonesia, with essays on his work, a script of his play Geez!, and various reflections by his peers.

Putu Wijaya in Performance

This is a tribute to one of the foremost writers and directors in Indonesia, with essays on his work, a script of his play Geez!, and various reflections by his peers. Distributed for the Center for Southeast Asian Studies, University of Wisconsin–Madison

Putu Wijaya in Performance

STRUCTURE AND SUBJUNCTIVITY : PUTU WIJAYA'S THEATRE OF SURPRISE Phillip B. Zarrilli Introduction : Geez ! in Madison Geez ! was ... playwright / director Putu Wijaya in Madison , Wisconsin in April 1986 for a run of four performances .

Putu Wijaya in Performance

This is a tribute to one of the foremost writers and directors in Indonesia, with essays on his work, a script of his play Geez!, and various reflections by his peers. Distributed for the Center for Southeast Asian Studies, University of Wisconsin–Madison

The Senses in Performance

16 IndonesIan TheaTre and ITs double Putu Wijaya paints a theatre of mental terror1 Cobina Gillitt A performance is an attack against the monotonous rhythms of life. An upset to the equilibrium. A blow to idle conditions.

The Senses in Performance

This ground-breaking anthology is the first to be dedicated to assessing critically the role of the human sensorium in performance. Senses in Performance presents a multifaceted approach to the methodological, theoretical, practical and historical challenges facing the scholar and the artist. This volume examines the subtle actions of the human senses including taste, touch, smell and vision in all sorts of performances in Western and non-Western traditions, from ritual to theatre, from dance to interactive architecture, from performance art to historical opera. With eighteen original essays brought together by an international ensemble of leading scholars and artists including Richard Schechner and Philip Zarrilli. This covers a variety of disciplinary fields from critical studies to performance studies, from food studies to ethnography from drama to architecture. Written in an accessible way this volume will appeal to scholars and non-scholars interested in Performance/Theatre Studies and Cultural Studies.

Intercultural Acting and Performer Training

Putu Wijaya in Performance: A Script and Study of Indonesian Theatre. Madison, WI: University of Wisconsin, Center for Southeast Asian Studies. Saini, K. M. (2001). Indonesia. In Katherine Brisbane, et al., eds., World Encyclopedia of ...

Intercultural Acting and Performer Training

Intercultural Acting and Performer Training is the first collection of essays from a diverse, international group of authors and practitioners focusing on intercultural acting and voice practices worldwide. This unique book invites performers and teachers of acting and performance to explore, describe, and interrogate the complexities of intercultural acting and actor/performer training taking place in our twenty-first century, globalized world. As global contexts become multi-, inter- and intra-cultural, assumptions about what acting "is" and what actor/performer training should be continue to be shaped by conventional modes, models, techniques and structures. This book examines how our understanding of interculturalism changes when we shift our focus from the obvious and highly visible aspects of production to the micro-level of training grounds, studios, and rehearsal rooms, where new forms of hybrid performance are emerging. Ideal for students, scholars and practitioners, Intercultural Acting and Performer Training offers a series of accessible and highly readable essays which reflect on acting and training processes through the lens offered by "new" forms of intercultural thought and practice.

Contemporary Southeast Asian Performance

Putu Wijaya in Performance: A Script and Study of Indonesian Theatre. Madison, WI: Center for Southeast Asian Studies, University of Wisconsin Sarkissian, Margaret. 2000. D'Albuquerque's Children: Performing Tradition in Malaysia's ...

Contemporary Southeast Asian Performance

Mutual borrowing, fluid transactions and transformations of performances and performers have a long and enduring history in Southeast Asia, but this trend has been heightened and made more vivid in the contemporary period. The omnipresence of global communications has provoked and inspired yet more novel experiments and collaborations between cosmopolitan artists and globally-oriented performers. This volume offers vital insights into recent developments in Southeast Asian performance. It demonstrates the ways in which contemporary artists and performers are increasingly working betwixt the traditional boundaries of the nation and discourses of identity. The essays collected here are testament to ongoing conversations and relations among scholars, practitioners and scholar-practitioners in Southeast Asia and around the world.

Shadows of Empire

Often at shadow play performances I attended in Java , the puppeteer might choose to comment on my presence at the ... Putu Wijaya wrote a novel about the Javanese shadow theatre while he was living in Madison , Wisconsin , and some of ...

Shadows of Empire

Shadows of Empire explores Javanese shadow theater as a staging area for negotiations between colonial power and indigenous traditions. Charting the shifting boundaries between myth and history in Javanese Mahabharata and Ramayana tales, Laurie J. Sears reveals what happens when these stories move from village performances and palace manuscripts into colonial texts and nationalist journals and, most recently, comic books and novels. Historical, anthropological, and literary in its method and insight, this work offers a dramatic reassessment of both Javanese literary/theatrical production and Dutch scholarship on Southeast Asia. Though Javanese shadow theater (wayang) has existed for hundreds of years, our knowledge of its history, performance practice, and role in Javanese society only begins with Dutch documentation and interpretation in the nineteenth century. Analyzing the Mahabharata and Ramayana tales in relation to court poetry, Islamic faith, Dutch scholarship, and nationalist journals, Sears shows how the shadow theater as we know it today must be understood as a hybrid of Javanese and Dutch ideas and interests, inseparable from a particular colonial moment. In doing so, she contributes to a re–envisioning of European histories that acknowledges the influence of Asian, African, and New World cultures on European thought—and to a rewriting of colonial and postcolonial Javanese histories that questions the boundaries and content of history and story, myth and allegory, colonialism and culture. Shadows of Empire will appeal not only to specialists in Javanese culture and historians of Indonesia, but also to a wide range of scholars in the areas of performance and literature, anthropology, Southeast Asian studies, and postcolonial studies.

The Cambridge Guide to Asian Theatre

... are the last refuge of human contact in a Indonesian authorities , and subsequently prohib- world gone excessively rational and materialistic . ited from public performance for seven years . In Once Putu Wijaya formed his theatre ...

The Cambridge Guide to Asian Theatre

A comprehensive and authoritative single-volume reference work on the theatre arts of Asia-Oceania. Nine expert scholars provide entries on performance in twenty countries from Pakistan in the west, through India and Southeast Asia to China, Japan and Korea in the east. An introductory pan-Asian essay explores basic themes - they include ritual, dance, puppetry, training, performance and masks. The national entries concentrate on the historical development of theatre in each country, followed by entries on the major theatre forms, and articles on playwrights, actors and directors. The entries are accompanied by rare photographs and helpful reading lists.

Routledge Handbook of Asian Theatre

Rafferty, Ellen (1989) 'The Tontonan Theatre of Putu Wijaya', in Ellen Rafferty (ed.) Putu Wijaya in Performance, Madison: University of Wisconsin Center for Southeast Asian Studies. Rajendran, Charlene (2013) 'The Politics of ...

Routledge Handbook of Asian Theatre

Routledge Handbook of Asian Theatre is an advanced level reference guide which surveys the rich and diverse traditions of classical and contemporary performing arts in Asia, showcasing significant scholarship in recent years. An international team of over 50 contributors provide authoritative overviews on a variety of topics across Asia, including dance, music, puppetry, make-up and costume, architecture, colonialism, modernity, gender, musicals, and intercultural Shakespeare. This volume is divided into four sections covering: Representative Theatrical Traditions in Asia. Cross-Regional Aspects of Classical and Folk Theatres. Modern and Contemporary Theatres in Asian Countries. Modernity, Gender Performance, Intercultural and Musical Theatre in Asia. Offering a cutting edge overview of Asian theatre and performance, the Handbook is an invaluable resource for academics, researchers and students studying this ever-evolving field.

Indonesian Cinema

1989 Putu Wijaya in Performance : A Script and Study of Indonesian Theatre . Monograph 5. Madison : Center for Southeast Asian Studies , University of Wisconsin . Richie , Donald 1988 " Viewing Japanese Film : Some Considerations .

Indonesian Cinema

A film-goer accustomed to the typical Hollywood movie plot would feel uneasy watching an Indonesian movie. Contrary to expectations, good guys do not win, bad guys are not punished, and individuals do not reach a new self-awareness. Instead, by the end of the movie order is restored, bad guys are converted, and families are reunited. Like American movies, Indonesian films reflect the understandings and concerns of the culture and era in which they are made. Thus Indonesian preoccupations with order and harmony, national unity, and modernization motivate the plots of many films. Cinema has not traditionally been within the purview of anthropologists, but Karl Heider demonstrates how Indonesian movies are profoundly Indonesian. Produced in the national language by Indonesians from various regions, the films are intended for audiences across the diverse archipelago. Heider examines these films to identify pan-Indonesian cultural patterns and to show how these cultural principles shape the movies and, sometimes, how the movies influence the culture. This anthropological approach to Indonesian film opens up the medium of Asian cinema to a new group of scholars. "Indonesian Cinema" should be of interest to social scientists, Asianists, film scholars, and anyone concerned with the role of popular culture in developing countries.

Acting Re Considered

Phelan, Peggy (1993) Unmarked: The Politics of Performance, London: Routledge. Pick, T.Pickering and Howden, Robert(eds) (1977) Gray's Anatomy,New York:Bounty Books, ... Rafferty, Ellen (ed.) (1989) Putu Wijaya in Performance: a Script.

Acting  Re Considered

Acting (Re)Considered is an exceptionally wide-ranging collection of theories on acting, ideas about body and training, and statements about the actor in performance. This second edition includes five new essays and has been fully revised and updated, with discussions by or about major figures who have shaped theories and practices of acting and performance from the late nineteenth century to the present. The essays - by directors, historians, actor trainers and actors - bridge the gap between theories and practices of acting, and between East and West. No other book provides such a wealth of primary and secondary sources, bibliographic material, and diversity of approaches. It includes discussions of such key topics as: * how we think and talk about acting * acting and emotion * the actor's psychophysical process * the body and training * the actor in performance * non-Western and cross-cultural paradigms of the body, training and acting. Acting (Re)Considered is vital reading for all those interested in performance.

Critical Theory and Performance

Performance as a mode of cultural action is not a simple reflection of some essentialized , fixed attributes of a ... 108 109 Indonesian novelist - playwright - poet Putu Wijaya describes Phillip B Zarrilli For Whom Is the King a King?

Critical Theory and Performance

The first comprehensive survey of the major critical currents and approaches in the lively field of performance studies

Masked Performance

( performer not named ) 1982 “ The Tale of Erlangga : Text Translation of a Village Drama Performance in Bali . ” Bijdragen tot do Taal- , Land- en Volkenkunde ... 1987 " Structure and Subjunctivity : Putu Wijaya's Theatre of Surprise .

Masked Performance

Growing out of a series of articles written over a 15 year period, and illustrated with over 100 photos, this volume offers a narrowed focus examination of various performing traditions that rely on the expressive power and imagination of masks. It explores the redefinition of self into "other," when the mask is worn, and examines actors and their performances in Papua New Guinea, Orissa, India, and Bali.

Crossroads

Richard B. Pollnac University of Rhode Island Putu Wijaya in Performance : A Script and Study of Indonesian Theatre , edited by Ellen Rafferty . Center for Southeast Asian Studies Monograph Series no . 5. Madison : Center for Southeast ...

Crossroads


Spectacle peace

Spectacle peace


The Intercultural Performance Reader

2 See Phillip B. Zarrilli , " Structure and Subjunctivity : Putu Wijaya's Theatre of Surprise " , The Drama Review , 31 , 3 , 1987 , for an article ... Republished in Richard Schechner's Performance Theory , London , Routledge , 1988 .

The Intercultural Performance Reader

Views on intercultural exchanges within theatre practice from contributors including: Peter Brook, Clive Barker, Jacques Lecoq and Rustom Bharucha.

Methuen Drama Handbook of Interculturalism and Performance

77 He also identifies the performance's rejection of an auteur led intercultural theatre through its onstage ... “new theatre” such as Arafin C. Noer and Putu Wijaya confront and reshape Western theatrical genealogies (Kathy Foley).

Methuen Drama Handbook of Interculturalism and Performance

The Methuen Drama Handbook of Interculturalism and Performance explores ground-breaking new directions and critical discourse in the field of intercultural theatre and performance while surveying key debates concerning interculturalism as an aesthetic and ethical series of encounters in theatre and performance from the 1960s onwards. The handbook's global coverage challenges understandings of intercultural theatre and performance that continue to prioritise case studies emerging primarily from the West and executed by elite artists. By building on a growing field of scholarship on intercultural theatre and performance that examines minoritarian and grassroots work, the volume offers an alternative and multi-vocal view of what interculturalism might offer as a theoretical keyword to the future of theatre and performance studies, while also contributing an energized reassessment of the vociferous debates that have long accompanied its critical and practical usage in a performance context. By exploring anew what happens when interculturalism and performance intersect as embodied practice, The Methuen Drama Handbook of Interculturalism and Performance offers new perspectives on a seminal theoretical concept still as useful as it is controversial. Featuring a series of indispensable research tools, including a fully annotated bibliography, this is the essential scholarly handbook for anyone working in intercultural theatre and performance, and performance studies.

The Cambridge Companion to Performance Studies

... Anak Agung Made Djelantik,IMade Sija, Ida Bagus Anom,Ida Bagus Suteja, I KetutKodi, INyoman Catra,I NyomanCeritra,I Ketut Kantor,I Wayan Wija, Kadek Suardana, Putu Wijaya, Luh KetutSuryani, Tjokorda Gde Dangin, andNiNyoman Candri.

The Cambridge Companion to Performance Studies

Since the turn of the century, Performance Studies has emerged as an increasingly vibrant discipline. Its concerns - embodiment, ethical research and social change - are held in common with many other fields, however a unique combination of methods and applications is used in exploration of the discipline. Bridging live art practices - theatre, performance art and dance - with technological media, and social sciences with humanities, it is truly hybrid and experimental in its techniques. This Companion brings together specially commissioned essays from leading scholars who reflect on their own experiences in Performance Studies and the possibilities this offers to representations of identity, self-and-other, and communities. Theories which have been absorbed into the field are applied to compelling topics in current academic, artistic and community settings. The collection is designed to reflect the diversity of outlooks and provide a guide for students as well as scholars seeking a perspective on research trends.

Re playing Shakespeare in Asia

readily available are her 'Indonesian Theatre and Its Double: Putu Wijaya Paints a Theatre of Mental Terror,' in Performance of the Senses, ed. Sally Banes and André Lepecki (London: Routledge 2006) and her introduction to The Lontar ...

Re playing Shakespeare in Asia

In this critical volume, leading scholars in the field examine the performance of Shakespeare in Asia. Emerging out of the view that it is in "play" or performance, and particularly in intercultural / multicultural performance, that the cutting edge of Shakespeare studies is to be found, the essays in this volume pay close attention to the modes of transference of the language of the text into the alternative languages of Asian theatres; to the history and politics of the performance of Shakespeare in key locations in Asia; to the new Asian experimentation with indigenous forms via Shakespeare and the consequent revitalizing and revising of the traditional boundaries of genre and gender; and to Shakespeare as a cultural capital world wide. Focusing specifically on the work of major directors in the central and emerging areas of Asia – Japan, China, India, Korea, Taiwan, Singapore, Indonesia and the Philippines - the chapters in this volume encompass a broader and more representative swath of Asian performances and locations in one book than has been attempted till now.

Performing the Nation

According to Putu Wijaya , the leading name in Tradisi Baru , the most important product of TIM during its 25 ... After 1965 , young directors , like Rendra and Putu Wijaya , turned their attention to indigenous forms of performance .

Performing the Nation

In sharp contrast to today's disorder was the apparent cohesion and stability of Indonesia during much of the New Order period (1965-1998). While Suharto's authoritarian rule was significant, the regime's cultural policies also played their part in demonstrating that his regime created order throughout Indonesia not just through coercive means. Ethnic, religious, and regional sentiments were to be channelled into art, which was used to help develop a national Indonesian identity. This theme is explored by this study, which focuses on the efforts of a group of young art students based at the Bandung Academy of Performing Arts to revitalize traditional Longser theater.