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The Puppetry for All Times Seminar held in September of 2013 in Ubud, Bali, was one of the most enchanting of events of its kind held anywhere in recent years. Its success revolved around the fantastic locale, the overwhelming response from performers as well as the paper presenters, and the generous support of Rumah Topengthe House of Masks and Puppets Setiadarma. In Puppetry for All Times, editor Ghulam-Sarwar Yousof offers a unique collection of papers presented at this weeklong seminar by academicians as well as performers of various traditions of Asian puppetry. The papers cover a wide range of interests and perspectives in puppetry and theater including history and tradition; heritage, preservation, and conversation; tradition and modernity; and digital puppetry and media. Puppetry for All Times recaps a key international event in the realm of puppet theater, marking the beginning of such endeavors as Rumah Topengs maiden academic publication.
Erika Fischer-Lichte's introduction to the discipline of Theatre and Performance Studies is a strikingly authoritative and wide ranging guide to the study of theatre in all of its forms. Its three-part structure moves from the first steps in starting to think about performance, through to the diverse and interrelated concerns required of higher-level study: Part 1 – Central Concepts for Theatre and Performance Research – introduces the language and key ideas that are used to discuss and think about theatre: concepts of performance; the emergence of meaning; and the theatrical event as an experience shared by actors and spectators. Part 1 contextualizes these concepts by tracing the history of Theatre and Performance Studies as a discipline. Part 2 – Fields, Theories and Methods – looks at how to analyse a performance and how to conduct theatre-historiographical research. This section is concerned with the 'doing' of Theatre and Performance Studies: establishing and understanding different methodological approaches; using sources effectively; and building theoretical frameworks. Part 3 – Pushing Boundaries – expands on the lessons of Parts 1 and 2 in order to engage with theatre and performance in a global context. Part 3 introduces the concept of 'interweaving performance cultures'; explores the interrelation of theatre with the other arts; and develops a transformative aesthetics of performance. Case studies throughout the book root its theoretical discussion in theatrical practice. Focused accounts of plays, practitioners and performances map the development of Theatre and Performance Studies as an academic discipline, and of the theatre itself as an art form. This is the most comprehensive and sophisticated introduction to the field available, written by one of its foremost scholars.
Performing Southeast Asia: Performance, Politics and the Contemporary is an important reconsideration of the histories and practices of theatre and performance in a fluid and dynamic region that is also experiencing an overarching politics of complexity, precarity and populist authoritarian tendencies. In a substantial introductory essay and essays by leading scholars, activists and practitioners working inside the region, the book explores fundamental questions for the arts. The book asks how theatre contributes to and/or addresses the political condition in the contemporary moment, how does it represent the complexity of experiences in peoples’ daily lives and how does theatre engage in forms of political activism and enable a diversity of voices to flourish. The book shows how, in an age of increasingly violent politics, political institutions become sites for bad actors and propaganda. Forces of biopolitics, neo-liberalism and religious and ethnic nationalism intersect in unpredictable ways with decolonial practices – all of which the book argues are forces that define the contemporary moment. Indeed, by putting the focus on contemporary politics in the region alongside the diversity of practices in contemporary theatre, we see a substantial reformation of the idea of the contemporary moment, not as a cosmopolitan and elite artistic practice but as a multivalent agent of change in both aesthetic and political terms. With its focus on community activism and the creative possibilities of the performing arts the region, Performing Southeast Asia, is a timely intervention that brings us to a new understanding of how contemporary Southeast Asia has become a site of contest, struggle and reinvention of the relations between the arts and society. Peter Eckersall The Graduate Center City University of New York Performing Southeast Asia – with chapters concerned with how regional theatres seek contextually-grounded, yet post-national(istic) forms; how history and tradition shape but do not hold down contemporary theatre; and how, in the editors’ words, such artistic encounters could result in theatres ‘that do not merely attend to matters of cultural heritage, tradition or history, but instead engage overtly with theatre and performance in the contemporary’ – contributes to the possibility of understanding what options for an artistically transubstantiated now-ness may be: to the possibility, that is, of what might be called a ‘Present-Tense Theatre’. C. J. W.-L. Wee Professor of English Nanyang Technological University Performing Southeast Asia examines contemporary performance practices and their relationship with politics and governance in Southeast Asia in the twenty-first century. In a region haunted historically by strongman politics, authoritarianism and militarism, religious tension and ethnic strife, the chapters reveal how contemporary theatre and performances in the present reflect yet challenge dominant socio-political discourses. The authors analyse works of political commitment and conviction, created and performed by Southeast Asian artists, as modes and platforms of reaction and resistance to the shifting political climates that inform contemporary life in urban Southeast Asia. The discussions center on issues of state hegemonies and biopolitics, finance and sponsorship, social liberalism and conservatism, the relevance of history and tradition, and globalisation and cultural practice. These diverse yet related concerns converge on an examination of the efficacies of theatre and performance as means of political intervention and transformation that point to alternative embodiments of political consciousness through which artists propose critical options for rethinking the state, citizenship, identity and belonging in a time of seismic socio-political change. The editors also reframe an understanding of ‘the contemporary’ not simply as a temporal adjective but, in the context of present Southeast Asia, as a geopolitical condition that shapes artistic and performance practices.
It is said that school leavers in Indonesia are not able to speak English confidently. They have no courage to speak, even though they actually feel that they have something to say in their mind. They are afraid to make mistakes when speaking because they never feel happy with their English grammar and vocabulary at school. English for Everyday Speaking is directed at those who have learned English and have no courage to speak but want to practice their spoken English. This book is not only suitably used by high school students, university students, language centers, English course learners and English speaking club members as a main course book for speaking, but also for employees, workers, staff, teachers, employers or members of a family as a core handbook for language practice during their leisure time. This book covers very common daily topics which everyone is familiar with, such as Daily Activities, Personal Information, Family Life, Culture, Sport, Housemaids, Hobbies and Interests, Smoking and Drinking, Music, Health, Education, School Life, Love, Holiday, Food and Drink, Marriage, Sex, Demonstrations & Strikes, Terrorism, Crime and Prisons, Debates, etc. The questions, which are intended to arouse learners to speak, are generally simple to answer for ordinary learners. They need practical ideas or knowledge but do not need deep academic or scientific knowledge to answer them. However, if the group of learners have more advanced knowledge about the topics and are interested to delve deeper on the topics, there are also some possibilities to do so. English for Everyday Speaking is designed by an experienced English teacher. In addition, these materials have been tried out at STP Bandung, STBA, Maranatha University, the Center at Jl. Setiabudhi, Bandung and some other language centers.
Annotation. A multidisciplinary reference of English-language publications on Indonesia. Annotated entries emphasize colonial history, the struggle for independence, the arts, and anthropology. Includes subject and title indexes. Annotation copyright by Book News, Inc., Portland, OR.
A comprehensive biography of the Indonesian nationalist leader and Prime Minister of the Indonesian Republic, Sutan Sjahrir. This work is both a study of an individual and the social conditions that shaped him. The author has conducted extensive research and interviews with those who knew Sjahrir personally, politically, and by reputation.
This book focuses on the relationship between the Egyptian village as a discursive construct and the novel genre as it emerged and developed in Egypt from the first decades of the century until its end.
Volume for 1947 includes "A list of clandestine periodicals of World War II, by Adrienne Florence Muzzy."