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Martial art-acting in dictatorial Indonesia: Antigone (1974) and Lysistrata (1975) directed by W. S. Rendra
Theatre, Dance and Performance Training Pub Date : 2022-09-27 , DOI: 10.1080/19443927.2022.2046631
Marco Adda

W. S. Rendra, the most prominent director-pedagogue in Indonesian theatre of the dictatorial era, staged Sophocles’ Antigone in 1974 and Aristophanes’ Lysistrata a year later. Clear cases of political provocation against the authoritarian regime, these productions confirmed his Bengkel Teater (Workshop Theatre) as one of the most disruptive, prolific and admired ensembles of the years of socio-political turmoil. Although the Chinese community was undergoing significant discrimination at the time, Rendra connected with a specific Sino-Indonesian martial art, siauw lim pek ho pay, or Bangau Putih (White Crane) silat. Its founder, Suhu Subur Rahardja, was a vital reference point for Rendra’s personal development while Suhu’s martial art became a powerful tool for actor training and provided a crucial contribution for the Bengkel Teater. This article investigates the different forms which martial art-acting took in the work of Rendra’s group in training, performing, in its pedagogic approach and in its community outreach. The article provides some basics about Rendra, Indonesia’s historical, political and cultural contexts, as well as silat. It also collates press releases from 1974 to 1975 with interviews with Fajar Suharno, a senior Bengkel Teater performer. It concludes by pointing out some similarities between Rendra’s approach and that of other theatre director-pedagogues and educators of the last century.



中文翻译:

武术表演在独裁的印度尼西亚:由 WS Rendra 执导的 Antigone (1974) 和 Lysistrata (1975)

WS Rendra 是独裁时代印度尼西亚戏剧界最杰出的导演兼教育家,1974 年上演了索福克勒斯的《安提戈涅》,一年后上演了阿里斯托芬的《吕西斯特拉塔》。这些作品显然是对专制政权的政治挑衅,证实了他的 Bengkel Teater(车间剧院)是社会政治动荡年代中最具破坏性、最多产和最令人钦佩的乐团之一。尽管当时华人社区受到严重歧视,但仁德拉与特定的中印尼武术siauw lim pek ho payBangau Putih (White Crane) silat联系在一起. 它的创始人 Suhu Subur Ra​​hardja 是 Rendra 个人发展的重要参考点,而 Suhu 的武术成为演员训练的有力工具,并为 Bengkel Teater 提供了至关重要的贡献。本文研究了武术表演在伦德拉小组的训练、表演、教学方法和社区外展方面的不同形式。本文提供了有关 Rendra、印度尼西亚的历史、政治和文化背景以及silat的一些基础知识。它还整理了 1974 年至 1975 年的新闻稿以及对本克尔剧院高级表演者 Fajar Suharno 的采访。最后指出伦德拉的方法与上世纪其他戏剧导演、教育家和教育家的方法之间的一些相似之处。

更新日期:2022-09-27
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