drama and theatre_wikipedia

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http://gajahpesing.net/ludruk-youre-history-now Ludruk is the art of traditional dramas of East Java. Ludruk is a traditional drama that wasexhibited by a group of art which was held on a stage by taking the stories of everyday peoples

lives, stories of struggle and others are interspersed with jokes and accompanied by gamelan as a

musical. Dialogue / monologue in ludruk are entertaining and make the audience laugh, usinglanguagetypical ofSurabaya, although sometimes there are guest stars from other areas such as

Jombang, Malang, Madura, Madiun, Kediri with a different accent. Straightforward languagethat is used inludruk, making it easily absorbed by the non-intellect (pedicab driver, patrolman,

angkot driver, etc.).

Ludrukalso include the type of traditional Javanese theater that was born and flourished in the

midst of the people and based on the spontaneity of peoples lives. Ludruk submitted by

appearance and easily digestible language community. In addition to functioning as the

entertainment, performing arts also serves as a disclosure of the atmosphere of public lifesupporters. In addition, this art is also often used as the distribution of social criticism.

Ludrukhave special features as follows. Players ludrukall composed of men, both for the role

his own men as well as to the role of women. Therefore usual role of women, the players tend to

be formed into groups ludruktravesti. The language used in ludrukis an easily digestible society,
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namelySurabayadialect ofJavalanguage. In addition, in accordance with the demands of the

story, in this art form are often used words of Chinese, Dutch, English and Japanese. In additionin terms of players and language, distinctiveness ludrukalso contained in the stories, decorations,

costumes and staging sequence. Ludruk story can be divided into two types, namely standard

stories and fantasy stories. Standard story is the story about the leading figures of the East Java

region, such as Cak Sakera and Sarif Tambak Yoso. Fantasy story is a story written by aparticular individual who is usually associated with peoples lives everyday.

Until now nothing was certainty about the origin place of birth ludruk. Attempts to define it

usually always hit on two different opinions. The first opinion says that this art originated from

Surabaya, was of opinion that the two consider that ludruk derived from Jombang. These twoarguments are equally strong arguments.

According to several sources and ludrukamong artists, arts ludruk embryos first appeared around

1890. First it was Gangsar, a character who comes and Pandan village, Jombang. Gangsar this artwas first coined in the form ngamen and jogetan (dance). He wanders and house to house. In

these travels Gangsar then saw a man was holding his son who was crying. He was dressedwomen, and this is considered Gangsar funny and interesting, so he was compelled to ask whythese women use clothes. According to the man, he wore womens clothes to fool his son, tomake her feel that she was being held by his mother. According to these sources, an event that is

the origin of the emergence of men acting as women in the arts ludruk.

Other sources said that the odyssey began with a singer named Alim. As with Gangsar, in

travels, Alim met a man who was comforting her child. The man was wearing womens clothing.Told that comes from local Alim Krian who then wandered down to Jombang and Surabaya. In

Alim travels accompanied by several of his friends. Together they introduced the art form and

jogetan ngamen. Then it developed a form of group Alim became an art form that contains

parikan and dialogue. Because the dances are performed always stamped (gedruk-gedruk) feet,art was later given the name ludruk.

Ludrukfromtimetotime

Suspected, ludruk a folk culture that was born to rebelmodel of the palace and the palace ofart a kind of puppet and ketoprakwhose story is too elitist and not touch people. Ludrukstories

generally raise the issue of small peoples lives everyday with the use of language that is more

egalitarian and impressed rough without civility when compared with the language used in thepuppet or ketoprak.

At the time of the revolution, ludruk not only serves as a means of entertainment but also a

means of communication between underground fighters with the people who witnessed it. Grip-grip formed in ludruk activity concluded that state:

1. Dance Ngeremo conclude a mockery of men who did not join to fight, womens clothingand makeup but is played by men.
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2. Weloed (wedoaneloedroek) brought the opening theme song which will provide apicture of a situation that should be aspired to in life is played by the transvestite-hermaphrodite.

3. Ngidung brought poetry that essentially represents what should be fought by the peoplein situations and conditions that exist today. There are four grooves which are:

oJokes to impress that this poem is not serious

o Seriously, which tells the story missions and a play that will be deliveredo A very funny joke, to remove the impression of previous seriouso Concluding with the impression of an apology if there are parties that offended by

what has been delivered.

4. The play, which is a drama that concluded the situation that happened at this time.Ludruk realistically play the courage to express concern for the people who are colonized. In

addition, this art form contains elements that promote the struggle. Ludruk own costume consists

of red and white colors that reflect the national flag of Indonesia. In the Japanese era ludrukserves as a media art criticism of the government. This seems especially in ludrukCak famous

Durasim parikan Pagupon omahe dara, melok Nippon tambah sengsara. With such parikanDurasim Cak was successfully arouse public resentment against the Japanese. Cak Durasimeventually captured and died in Japanese custody.

In the days of the Republic ofIndonesia, art ludrukstill alive and thriving as a traditional folk artform of theater. However, if the period of this art sebeluninya serves as distributor of social

criticism, during which then shifted into the transmitter function of government policy. In

addition, ludruk also used as media promotion of certain merchandise by a particular sponsor.

According to the census conducted by the Regional Office of Arts Education and Culture of EastJava, until 1985 there were 58 clubs with 1530 people ludruk players. This amount can be quite a

lot and shows that the public interest in East Java (Surabaya) of this art form is still quite large.

In 1994, the group lived 14 ludruk circumference alone group. They play in the villages who do

not have electricity at the rate IDR Rp 350. This group is supported by 50-60 players. Their

income is very minimal, namely: Rp 15002500 /night. When the show deserted, was forced totake the cash money to eat.

Ludrukand legend

Some community members who met and interviewed at random, such as rickshaw drivers,employees of a photocopy shop, still can tell stories ludruk well, the characters of the story,

associations, and leading players ludruk player. Speaking of ludruk, certainly comes to mind we

are Kartolo. Kartolo is a legendary comedian ludruk from Surabaya, East Java. He has more than

40 years of living in the art world ludruk. Kartolo name and distinctive voice, the jokes areinnocent and intelligent, is known almost all over East Java, even to Central Java. Kartolo

already active in the art world ludruk since the era of the 1960s. He founded the group ludruk

Kartolo CS.
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Cak Kartolo

Kartolo CS consists of Kartolo, Basman, Sapari, Sokran, Blonthang, Tini (wife Kartolo),

incorporated in art karawitan Sawunggaling Surabaya. Each player has a unique and distinctive

character, and have a kind of grammar itself. For example Kartolo the most intelligent, so oftentold ngakali other players, Basman who have great voices and talk shut, and Sapari are often

naughty, but even so the victim. But this gold formation do not survive until now. What remains

is Kartolo, Tini and Sapari. Basman, Sokran and Blonthang had died. Until now Kartolo andSapari still often appear on JTV (TV Jawapos) in Surabaya.

Surely not just that a legend ludruk Kartolo. There were other names are like Cak Durasimn,Agus Kuprit, Sidik, Ning Lasiana, Markeso, Bawong SN and Umi Kulsum. Even the name of the

latter is obtained from the Imam Oetomo Special awards, East Java Governor for his service in

the world Ludruk. Grandma is the age of 85 years has been more than 55 Years as an artistludruk. Of them 46 years passed with broadcast ludruk RRI Surabaya. Although never graduated

from grammar school, at the RRI ludruk loyalty together, Umi Kulsum appointed as civil

servants with the rank of class II A in 1981 by Ali Murtopo, Information Minister at that time.Until now, although the numbers are relatively small and in pretty alarming, there are still some

groups ludruk expanding in Surabaya, Malang, Jombang, and surrounding areas, which remain

on hold performances, including a group Cak Kartolo Cs.

Currently we are still awaiting the emergence of new ludruk groups that revives the glory of artludruk. Or at least we still remember the names of such legendary Ludruk Brata, Ludruk Dradjit,

Ludruk Budi Utama, Ludruk Tjoleke, Ludruk Kolekturan, Ludruk Budidojo, Ludruk Karen,Ludruk Bakri, Ludruk Murba, Ludruk Drais Ludruk Bull Marhaen, Ludruk Suluh Marhaen,

Ludruk Marhaen Young, Ambassador Ludruk Masa, Ludruk Arum Dalu, Ludruk Putra Bahari,

Ludruk Odadi Kari, Ludruk Marhaen, Ludruk Tresna Enggal, Ludruk Let Katon, Ludruk Massa,Ludruk Sari Pillars, Ludruk Rhythm Enggal, Ludruk Massa Pillars, Ludruk Panca Bakti, Ludruk

Djoko Muntjul, Ludruk Sido Dadi Slamet, Ludruk Mulya Kuntjara, Ludruk New Flow, Ludruk
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Nusantara, Ludruk Bond South Malang, etc.. Spread in Jombang, Malang, Surabaya and

surrounding areas.

Ludruk as laboratory wisdom

The process of human life is often marred by all coincidence, aksidential, can not always beplanned with a common sense of competition as teaching philosophy of living in which rampantcapitalism and modernization today. And best of ludruk Kartolo teaching is how to respond to

life with simplicity, not with the arrogant and full of lust. An example is in one of her role,

Queen Worms Anil, where Kartolo role as King Minohek. As the rulers and the people who have

various kasekten and privileges, it turns out King Minohek just a dream. King Minohek justslapstick, it is often not a reality that is played by real human beings. King Minohek is just a

speck of arrogance to control everything, while he himself did not know that its all just wishful

thinking. Ngglethek it was just a dream.

In the words of artist Andy Warhol popart, In the futureeveryone will be world-famous for

15 minutes. With all the effort and prayer we all hope that the arts ludrukstill there and maybesomeday will come back big. Hopefully ..
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Drama and theatre

Wayang, the Javanese, Sundanese, and Balineseshadow puppettheatre shows display several

mythological legends such asRamayanaandMahabharata, and many more. Wayang Orang is

Javanese traditional dance drama based on wayang stories. Various Balinese dance drama also

can be included within traditional form of Indonesian drama. Another form of local drama isJavaneseLudrukandKetoprak, Sundanese Sandiwara, and BetawiLenong. All of these drama

incorporated humor and jest, often involving audiences in their performance.

Randaiis a folk theatre tradition of theMinangkabaupeople ofWest Sumatra, usually performed

for traditional ceremonies and festivals. It incorporates music, singing, dance, drama and thesilat

martial art, with performances often based on semi-historical Minangkabau legends and lovestory.

Modern performing art also developed in Indonesia with their distinct style of drama. Notabletheatre, dance, and drama troupe such asTeater Komaare gain popularity in Indonesia as their

drama often portray social and political satire of Indonesian society.

Ludruk is the traditional art of drama in East Java. Ludruk is a traditional drama performed by anarts group in stage by taking the story of the lives of everyday people, stories of struggle and so

are interspersed with jokes and accompanied by gamelan as a musical.
http://en.wikipedia.org/wiki/Wayanghttp://en.wikipedia.org/wiki/Wayanghttp://en.wikipedia.org/wiki/Shadow_puppethttp://en.wikipedia.org/wiki/Shadow_puppethttp://en.wikipedia.org/wiki/Shadow_puppethttp://en.wikipedia.org/wiki/Ramayanahttp://en.wikipedia.org/wiki/Ramayanahttp://en.wikipedia.org/wiki/Ramayanahttp://en.wikipedia.org/wiki/Mahabharatahttp://en.wikipedia.org/wiki/Mahabharatahttp://en.wikipedia.org/wiki/Mahabharatahttp://en.wikipedia.org/wiki/Ludrukhttp://en.wikipedia.org/wiki/Ludrukhttp://en.wikipedia.org/wiki/Ludrukhttp://en.wikipedia.org/wiki/Ketoprakhttp://en.wikipedia.org/wiki/Ketoprakhttp://en.wikipedia.org/wiki/Ketoprakhttp://en.wikipedia.org/w/index.php?title=Lenong&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Lenong&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Lenong&action=edit&redlink=1http://en.wikipedia.org/wiki/Randaihttp://en.wikipedia.org/wiki/Randaihttp://en.wikipedia.org/wiki/Minangkabau_peoplehttp://en.wikipedia.org/wiki/Minangkabau_peoplehttp://en.wikipedia.org/wiki/Minangkabau_peoplehttp://en.wikipedia.org/wiki/West_Sumatrahttp://en.wikipedia.org/wiki/West_Sumatrahttp://en.wikipedia.org/wiki/West_Sumatrahttp://en.wikipedia.org/wiki/Silathttp://en.wikipedia.org/wiki/Silathttp://en.wikipedia.org/wiki/Silathttp://en.wikipedia.org/w/index.php?title=Teater_Koma&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Teater_Koma&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Teater_Koma&action=edit&redlink=1http://en.wikipedia.org/w/index.php?title=Teater_Koma&action=edit&redlink=1http://en.wikipedia.org/wiki/Silathttp://en.wikipedia.org/wiki/West_Sumatrahttp://en.wikipedia.org/wiki/Minangkabau_peoplehttp://en.wikipedia.org/wiki/Randaihttp://en.wikipedia.org/w/index.php?title=Lenong&action=edit&redlink=1http://en.wikipedia.org/wiki/Ketoprakhttp://en.wikipedia.org/wiki/Ludrukhttp://en.wikipedia.org/wiki/Mahabharatahttp://en.wikipedia.org/wiki/Ramayanahttp://en.wikipedia.org/wiki/Shadow_puppethttp://en.wikipedia.org/wiki/Wayang


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Dialogue / monologue in ludruk are entertaining and make the audience laugh, using language

typical of Surabaya, although sometimes there are guest stars from other regions such asJombang, Malang, Madura, Madiun with a different accent. The plain language used in ludruk,

making him easily absorbed by the non-intellect (pedicab driver, patrolman, angkotan driver,

etc).

A regular ludruk performances began with Remo Dance performances interspersed with a

character who memerakan Mr. Sakera, a master of Madura.

Kartolo was a legendary comedian ludruk from Surabaya, East Java. He has more than 40 years

of living in a world of art ludruk. Kartolo name and distinctive voice, the jokes are innocent andintelligent, is known almost all over East Java, Central Java even.

Different Ludruk ketoprak from Central Java. Ketoprak stories are often taken from ancient story(history or fairy tales), and are particular message. While ludruk tells the story of everyday life

(usually) the grassroots.

Ludruk is the art of traditional dramas of East Java. Ludruk is a traditional play that was

exhibited by an arts group in gelarkan disebuah took the stage with stories about everyday

people's lives, stories of struggle and many others are interspersed with jokes and accompanied

by the gamelan as a musical.

Dialogue / monologue in ludruk are entertaining and make the audience laugh, using language

typical of Surabaya, although sometimes there are guest stars from other areas such as Jombang,

Malang, Madura, Madiun with a different accent. The plain language used in ludruk, making himeasily absorbed by the non-intellect (pedicab driver, patrolman, drivers of public transport, etc).

A regular gig started with Dance ludruk Remo and interspersed with memerakan staging acharacter "Mr. Sakera", a master of Madura.

Ludruk Kartolo was a legendary comedian from Surabaya, East Java. He has more than 40 yearsof living in ludruk art world. Kartolo name and distinctive voice, with an innocent and intelligent


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farce, known to almost all of East Java, even to Central Java.

Different Ludruk ketoprak from Central Java. Ketoprak stories are often taken from ancient story

(history or fairy tale), and the character of a particular message. While ludruk tells the story of

everyday life (usually) among the grassroots.

Read more:http://indonesianrich.blogspot.com/2010/06/ludruk-traditional-drama-east-

java.html#ixzz1p99pAnlk

Under Creative Commons License:Attribution
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SEJARAH DRAMA

DRAMA MATERI

II. SEJARAH DRAMA

2.1 Sejarah Drama Dunia2.1.1 Drama Klasik

Yang disebut drama klasik adalah pada zaman Yunani dan Romawi. Pada masa kejayaankebudayaan Yunani dan Romawi banyak sekali karya drama yang bersifat abadi, terkenal sampai

kini.

(a) Drama YunaniAsal mula drama adalah kultus Dyonesos. Pada waktu itu, drama dikaitkan dengan upacara

penyembahan kepada dewa, dan disebut tragedi. Kemudian tragedi mendapat makna lain, yaitu

perjuangan manusia melawan nasib. Komedi sebagai lawan kata dari tragedi, pada zaman

Yunani Kuno merupakan karikatur cerita duka dengan tujuan menyindir penderitaan hidupmanusia.

Ada tiga tokoh Yunani terkenal, yaitu Plato, Aristoteles, dan Sophocles. Menurut Plato,keindahan bersifat relatif. Karya seni dipandangnya sebagai mimetik, yaitu imitasi dari

kehidupan jasmaniah manusia. Imitasi menurut Plato bukan demi kepentingan imitasi itu sendiri,tetapi demi kepentingan kenyataan. Karya Plato yang terkenal adalah The Republic.

Aristoteles juga tokoh Yunani yang terkenal. Ia memandang karya seni bukan hanya imitasi

kehidupan fisik, tetapi harus juga dipandang sebagai karya yang mengandung kebajikan dalamdirinya. Dengan demikian karya-karya itu mempunyai watak tertentu.

Sophocles adalah tokoh drama terbesar zaman Yunani. Tiga karyanya yang merupakan tragedi,

merupakan karyanya bersifat abadi, dan temanya relevan sampai saat ini. Dramanya adalah

"Oedipus Sang Raja", "Oedipus", dan "Antigone". Tragedi tentang nasib manusia yangmengenaskan. Dari karyanya bentuk tragedi Yunani mendapatkan warna khas.Sedang

Aristophanes, adalah tokoh komedi dengan karya-karyanya The Frogs, The Waps, TheClouds.

(b) Drama Zaman Romawi

Terdapat tiga tokoh drama Romawi Kuno, yaitu Plutus, Terence, atau Publius Terence Afer, danLucius Seneca. Teater Romawi mengambil alih gaya teater Yunani. Mula-mula bersifat religius,

lama-lama bersifat mencari uang (show biz). Bentuk pentas lebih megah dari zaman Yunani.

2.1.2 Teater Abad Pertengahan

Pengaruh gereja Katolik atas drama sangat besar pada zaman pertengahan ini. Dalam

pementasan ada nyanyian yang dilagukan oleh para rahib dan diselingi dengan koor. Kemudian

ada pagelaran "Pasio" seperti yang sering dilaksanakan di gereja menjelang upacara Paskahsampai saat ini.

Ciri khas abad Pertengahan, adalah sebagai berikut:

1. pentas kereta,

2. dekor bersifat sederhana dan simbolis,3. pementasan simultan bersifat berbeda dengan pementasan simultan drama mod0ern.

(a) Zaman Italia
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Istilah yang populer dalam jaman Italia adalah Comedia del 'Arte yang bersumber dari komedi

Yunani. Tokoh-tokohnya antara lain Dante, dengan karya-karyanya The Divina Comedy,Torquato Tasso dengan karyanya drama-drama liturgis dan pastoral, dan Niccolo Machiavelli

dengan karyanya Mandrake.

Ciri-ciri drama pada zaman ini, adalah sebagai berikut:

1. improvisatoris atau tanpa naskah,2. gayanya dapat dibandingkan dengan gaya jazz, melodi ditentukan dulu, baru kemudian

pemain berimprovisasi (bandingkan teater tradisional di Indonesia),

3. cerita berdasarkan dongeng dan fantasi dan tidak berusaha mendekati kenyataan,4. gejala akting, pantomime, gila-gilaan, adegan dan urutan tidak diperhatikan.

Komedi Italia meluas ke Inggris dan Nederland. Gaya komedi Italia ini di Indonesia kita kenal

dengan nama "seniman sinting" atau "seniman miring" dengan tokoh antara lain Marjuki (Drs.).Dibandingkan dengan drama Yunani, maka pada zaman Italia ini materi cerita disesuaikan

dengan adegan yang terbatas itu. Trilogi Aristoteles mendapat perhatian.

Tokoh-tokoh pelaku dalam komedi Italia mirip tokoh-tokoh cerita pewayangan, sudah dipolakan

yaitu:

1. Arlecchino (The Hero, pemain utama),2. Harlekyn (punakawan/badut/clown),

3. Pantalone (ayah sang gadis lakon),4. Dottere (tabib yang tolol),

5. Capitano (kapten perebut gadis lakon),

6. Columbina (punakawan putri),7. Gadis lakon (primadona yang menjadi biang lakon).

(b) Jaman Elizabeth

Pada awal pemerintahan Raru Elizabeth I di Inggris (1558-1603), drama berkembang denganpesatnya. Teater-teater didirikan sendiri atas prakarsa sang ratu. Shakespeare, tokoh drama abadi

adalah tokoh yang hidup pada jaman Elizabeth.

Ciri-ciri naskah drama jaman Elizabeth, adalah:

1. naskah puitis,2. dialognya panjang-panjang,

3. penyusunan naskahnya lebih bebas, tidak mengikuti hukum yang sudah ada,

4. laku bersifat simultan, berganda dan rangkap,5. campuran antara drama dan humor.

Tokoh besarnya adalah William Shakespeare (1564-1616), dengan karya-karyanya The Taming

of the Schrew, Mid Summer Night Dream, King Lear, Anthony and Cleopatra, Hamlet,

Macbeth, dan sebagainya. Hampir semuanya telah diterjemahkan oleh Trisno Sumardjo, Muh.Yamin, dan Rendra.

(c) Perancis (Moliere dan Neoklasikisme)Tokoh-tokoh drama di Perancis antara lain Pierre Corneille (Melite, Le Cid), Jean Raccine

(Phedra), Moliere, Jean Baptista Poquelin (Le Docteur Amoureux/The Love Sick Doctor,

LesPreciueuses Rudicules/The Affected Young Lady, dan lain-lain), Voltaire (dengan filsafatdan karyanya yang aneh), Denis Diderot (Le Per De Famille dan Le Fils Naturel), Beaumarchais

(La Barbier De Seville/Barber of Seville, Le Mariage de Fogaro/The Marriage of Fogaro).


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(d) Jerman (jaman Romantik)

Tokoh-tokohnya antara lain Gotthol Ephraim Lessing (Emilia Galotti, Miss Sara Sampson, danNathan der Weise), Wolfgang von Goethe(Faust), Christhop Friedrich von Schiller (The

Robbers, Love and Intrique, Wallenstein, dan beberapa adaptasi dari Shakespeare).

2.2 Sejarah Drama ModernDalam bagian ini akan dijelaskan perkembangan drama modern di beberapa negara yang

melanjutkan kejayaan tradisi pementasan dan penulisan drama yang telah dimulai pada jaman

Yunani Kuno. Akan dikemukakan tokoh drama seperti Ibsen (Norwegia), Strindberg (Swedia),Bernard Shaw (Inggris), tokoh dari Irlandia, Perancis, Jerman, Italia, Spanyol, Rusia, dan

terakhir Amerika Serikat yang menunjukkan perkembangan pesat. Semua ini sekedar informasi

untuk memperluas cakrawala pengetahuan kita di Indonesia tentang perkembangan drama di luarIndonesia.

(a) Norwegia (Ibsen)

Tokoh paling terkemuka dalam penulisan drama di Norwegia adalah Henrick Ibsen (1828-1906).

Karyanya yang paling terkenal dan banyak dipentaskan di Indonesia adalah "Nora", saduran dariterjemahan Armyn Pane "Ratna". Karya-karya Ibsen adalah Love's Comedy,The Pretenders,

Brand and Peer Gynt (drama puitis), A doll's House, An Enemy of the people, The Wild

Duck, Hedda Gableer, dan Roshmersholm. Ibsen tidak memberikan karakter hitam putih,tetapi tokoh penuh tantangan, watak yang digambarkan kompleks dengan penggambaran

berbagai segi kehidupan manusia. Dialognya dengan gaya prosa yang realistis denganmenekankan mutu percakapan dan bersifat realistis. Gagasan yang dikemukakan dapat

membangkitakan gairah dan memikat perhatian. Problem yang di angkat dapat menjadi lelucon

drama yang besar dan diambil dari problem yang timbul dalam masyarakat biasa.

(b) Swedia (August Strindberg)Tokoh drama paling terkenal di Swedia adalah Strindberg (1849-1912). Karya-karya drama

yang bersifat historis dari Strindberg di antaranya adalah Saga of the Folkung dan The

Pretenders. Miss Julia dan The Father adalah drama naturalis. Drama penting yang bersifat

ekspresionistis adalah A Dream Play, The Dance of Death, dan The Spook Sonata.(c) Inggris (Bernard Shaw dan Drama Modern)

Tokoh drama modern Inggris yang terpenting (setelah Shakespeare) adalah George Bernard

Shaw (1856-1950) . Ia dipandang ssebagai penulis lakon terbesar dan penulis terbesar pada abadmodern. Di Ingris Bernard Shaw memenduduki peringkat kedua setelah Shakespeare. Karya-

karyanya antara lain adalah Man and Superman, Major Barbara, Saint Joan, The Devil's

Disciple, dan Caesar and Cleopatra.Tokoh drama modern di Inggris yang lain adalah James M. Barrie (1860-1937), dengan karya

Admirable Crichton, What Every Woman Knows, Dear Brutus, dan Peter Pan. NoelCoward dengan karya Blithe Spirit. Somerest Mugham dengan karya The Circle. Christoper

Fry dengan karya-karyanya A Phoenic Too Frequent, The Lady's Not for Burning.(d) Irlandia (Yeats sampai O'Casey)

Tokoh penting drama Irlandia Modern adalah William Butler Yeats yang merupakan pemimpin

kelompok sandiwara terkemuka di Irlandia dan Sean O'Casey (1884) dengan karyanya The

Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, The SilverTassie, Within the Gates, dan The Stars Turns Red. Tokoh lainnya adalah John Millington

Synge (1871-1909) dengan karya-karya Riders to the Sea dan The Playboy of the Western


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World. Synge Merupakan pelopor teater Irlandia yang mengangkat dunia teater menjadi penting

di sana.(e) Perancis (dari Zola sampai Sartre)

Dua tokoh terkemuka di Perancis adalah Emile Zola (1840-1902) dan Jean Paul Sartre (1905).

Karya-karya Emile Zola adalah Therese Raquin yang mirip A Doll's House. Eugene Brieux

(1858-1932), menulis naskah Corbeaux (The Vultures), La Parisienne (The Woman ofParis), dan Les Avaries (Damaged Gods). Edmond Rostan (1868-1918) dengan karya Les

Romanasques (The Romancers) dan Cyrano de Bergerac. Maurice Materlinck (1862-1949),

dengan karyanya Pelleas et Melisande yang bercorak romantik. Jean Giraudoux (1882-1944),

dengan karyanya Amphitryen 38 dan La Folle de Challiot (The Madwoman of Challiot).Jean Giraudoux juga mengarang karya yang sangat terkenal, yaitu La Guerre de Troie N'aura

pas Lieu yang diproduksi oleh Teater Broadway dengan judul "Tiger at the Gates". Di Indonesiapernah dipentaskan oleh Darmanto Jt. dengan judul "Perang Troya Tidak Akan Meletus", kisah

tentang Hektor dan Helena. Jean Cocteau (1891-) dengan karyanya La Machine Internale. Diantara pengarang selama Perang Dunia II, Jean Paul Sartre merupakan spotlight. Ia lahir pada

tahun 1905 dan merupakan tokoh aliran eksistensialisme. Karya-karyanya antara lain Huis

Clos (Ni Exit) dan Les Mouches (The Flies). Pengarang lainnya adalah Jean Anaoulih (1910-) dengan karyanya Le Bal des Voleurs (Thieve's Carnivaly) dan Antigone (terjemahan

dari drama Sophocles).(f) Jerman dan Eropa Tengah (Hauptman sampai Brecht)

Banyak sekali sumbangan Jerman terhadap drama modern. Tokoh seperti Hebbel dan temannya

telah mempelopori aliran realisme. Penulis naturalis terkenal adalah Gerhart Hauptman (1862-1946) dan Arthur Schnitzler (1862-1931). Karya Hauptman antara lain adalah The Weavers,The Sunken Bell, dan Hannele. Karya Schnitzler antara lain Liebelei, Anatol dan

Reigen. Pengarang lainnya Fernc Molnar (1878-1952) dengan karya The Play's the Thing,

The Guardsman, dan Liliom. Karel Capek (1890-1938) dengan karya The Insect Comedyyang ditulis bersama kakaknya Yosef. Bertolt Brecht (1898-1956) dengan teaternya yang

memiliki ciri-ciri an enthrailling, masterfull, achievment, energetic, forceful, full of humor.

Nama teaternya adalah Berliner Ensemble (ciri tersebut berarti memikat, indah sekali, penuh

prestasi, penuh energi, daya kekuatan yang tinggi, dan penuh cerita humor). Karya-karya Brecht

antara lain Threepenny Opera, Mother Courage, dan The Good Woman Setzuan. BerlineEnsemble sangat berpengaruh di masa sesudah Brecht.

(g) Italia (dari Goldoni sampai Pirandillo)Setelah zaman Renaissance, karya-karya drama banyak berupa opera disamping comedia

dell'arte. Tokoh drama Italia antara lain Goldoni (1707-1793) dengan karyanya Mistress of the

Inn. Gabrielle D'Annunzio (1863-1938) dan Luigi Pirandello (1867-1936) dengan karyanya

Right You Are, If You Think You Are, As You Desire Me, Henry IV, Naked, Six

Characters in Search of an Author, dan Tonight We Improvise.

(h) Spanyol (dari Benavente sampai Lorca)

Bagi Spanyol, abad XX sebagai abad kebangkitan dramatic spirit. Tokohnya antara lain JacintoBenavente (1866-1954) yang pernah mendapat hadiah Nobel tahun 1922. Yang terkenal di

Amerika, adalah karyanya yang berjudul Los Intereses Creados (The Bonds of Interest) dan

La Marquerida (The Passion Flower). Sejaman dengan Benavente adalah Gregorio MartinezSierra (1881-1947) dengan karyanya The Cradle Song. Pengarang paling penting pada jamanmodern di Spanyol adalah penyair dan penulis drama Frederico garcia Lorca (1889-1936). Dia

dipandang sebagai orang yang dikagumi oleh penyair dan dramawan W.S. Rendra. Karya Lorca


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antara lain adalah Shoemaker's Prodigius Wife dan The House of Bernarda Alba.

(i) Rusia (dari Pushkin sampai Andreyev)Tzarina Katerin Agung dipandang sebagai pengembang drama di Rusia. Pengarang pertama yang

dipandang serius adalah Alexander Pushkin (1799-1837) dengan karyanya Boris Godunov,

Sebuah tragedi historis. Nikolai Gogol (1809-1852), menulis antara lain The Inspector

General. Alexander Ostrovski (1823-1886) menulis Enough Stupidity in Every Wise Man.Leo Tolkstoy (1828-1910) menulis The Power of Darkness Selanjutnya Anton Pavlovich

Chekov(1860-1904) sangat terkenal di Indonesia, dengan karyanya yang diterjemahkan menjadi

"Pinangan" dan "Kebun Cherry" (The Cherry Orchid). Pohon Cherry merupakan karya besar

Chekov. Karya lainnya adalah Uncle Vanya, The Sea Gull, dan The Three Sisters. Adakualitas dan ciri yang sama dari karya Chekov, yaitu tragedi senyap, hasrat, kerinduan, dan

karakter yang hidup. Pengarang lain adalah Maxim Gorki (1868-1936) dengan karyanya The

Lower Depth. Leonid Andreyev (1971-1919) dengan karyany The Live of Man, King

Hunger, dan He Who Gets Slapped.

(j) Amerika (Godfrey sampai Miller)

Pengarang drama yang paling awal di Amerika adalah Thomas Godfrey, dengan karya The

Prince of Parthia (1767). Harriet Beecher Stowe (1811-1896) menulis The Octoroon. DavidBelasco (1854-1931) menulis The Girl of Goldent West. Bronsin Howard (1842-1908)

menulis Shenandoah. James A. Henre (1839-1901).


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Ludruk from East Java, Indonesia

Byerinon Jan 26, 2012 -Comments: 0- Today view: 1 - Total view: 51

Ludruk is the art of traditional dramas of East Java, Indonesia. Ludruk was exhibited by a group

of art in by taking the stories of everyday peoples lives, stories of struggle and others areinterspersed with jokes and accompanied by the gamelan as a musical.

Dialogue / monologue in ludruk are entertaining and make the audience laugh, using typical

language of Surabaya, although occasionally there are guest stars from other areas such asJombang, Malang, Madura, Madiun with a different accent. Straightforward language that is

used in ludruk making it easily absorbed by the non-intellect (pedicab drivers, watchmen, drivers

of public transport, etc). A performance usually begins with a ludruk dance Remo and

interspersed with the staging of a character who role as Mr. Sakera, a master of Madura.Ludruk different with ketoprak from Central Java. Ketoprak stories often taken from the story of

ancient times (both history and myth), and is delivering a particular message. While ludruk tellsthe story of everyday life (usually) among the underprivileged.
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