of PUTU WIJAYA’S PICTOGRAPHIC THEATRE (Abstract)
by : Benny Yohanes
KEY WORDS : TRANSFORMATIVE RELIGION
This Article, representing analytic study to drama masterpiece from one of the notable Indonesia dramatist figure, Putu Wijaya. Putu Wijaya, born year 1944, from family of Hindu-Bali. Putu, live in Bali till finish his middle education . Afterwards he continue school in Yogyakarta, and since year 1974, he remain to Jakarta. This article, will try to explain a process of theatre creativity , pushed by spirit for the transform of religion, becoming a form of pictorial theatre, with theme and tidiness of contemporary. Taken as analysis base, is to serial show of Putu Wijaya’s masterpiece, entitling ' ZOOM', what show at the year 2004. First version of this show, show at the year 2002, with title ' WAR'. Last, its current version show at the year 2005, with title ' DON'T WEEP INDONESIA.'
Putu Wijaya, owning of spiritual strong tying with Bali local tradition. Though, most process of his drama creativity is yielded in Jakarta-a secular landscape, where religious values become formally, at the same time marginal-but, traditional wisdom of Hindu-Bali, remain to colour Putu’s artistic contemplation.
By sociopolitical,Bali-Hinduism tradition in Indonesia, was non dominant tradition, in comparison with Islam tradition. Even though, by historical,Bali-Hinduism tradition older than Islam tradition, but that tradition do not play role of majority. But, minority position of Bali-Hinduism tradition, have assisted Putu to conduct more private reinterpretation, without having to face political judgement, from its formal center. Private reinterpretation will be more politically risk if dealing with tradition of religion, what by sociopolitical play role of majority.
Putu’s theatre is not exhibition of images of stereotype religion, but represent recalling for the shamanistic space of Bali-Hinduism.Process that recalling it is of course entangle Putu subjective creativity alone, to present theatre tidiness and themes of contemporary, fixed present spiritual nuance. But, Putu’s theatre is not form of contemporarized religion. Putu’s theatre is the spirit of religion transformative energy, and become to see contrast with its formal values appearance, because Putu apply strategy of deconcentration value, in his artistic contemplation. Strategy of deconcentration assess that, pass approach of distortion.
Putu mention his theatre as terror theatre. Putu’s theatre present its ‘mental-terror’, as snare to strength of ratio, what always tend to format and explain message. ‘Mental-terror’ emerge as appearance of his theatre struck from format of rationalization, and let audience adventure among draw fantasies and requirement obtain single perception. Spirit which is same to be practiced also by Putu in his literature pieces, where consciously Putu bang up by frontal things having the character of thesis with its antithesis, and gap between both that pole have never been pacified to become synthesis. Oftentimes Putu indicate that synthesis is sign end seeking. Synthesis mean stagnation.
of PUTU WIJAYA’S PICTOGRAPHIC THEATRE
by : Benny Yohanes*
This Article, representing analytic study to drama masterpiece from Putu Wijaya, one of the notable Indonesia dramatist figure. Putu Wijaya, born year of 1944, from family of Hindu-Bali. Putu, live in Bali till finish his middle education . Afterwards he continue school in Yogyakarta, and since year 1974, he remain to Jakarta. Until now, Putu have written around 40 drama texts, 40 novels, more than 1000 short stories; beside other articles in the form of film scenario, criticism and essay. Putu Wijaya known as productive writer. Year 1971, Putu Wijaya found ‘Teater Mandiri’ (Self-Supporting Theatre); group of theatre which still managing of hitherto. ‘Teater Mandiri’ have 35 year. This...
Please join StudyMode to read the full document