Developments in modern theatre of Indonesia: Generation, degeneration, and regeneration of a cultural medium

On account of the diversity of traditional and popular forms of theatre that are deep-rooted throughout the regions of Indonesia, modern theatre practice is in the process of strengthening identity and place as a culturally rich performance tradition. This is evident when exploring the history of that theatre using research methods based on the best possible scientific practices available. Those methods require flexibility. There are no fixed sets of values, rules or codes of practice of a kind that are rooted within the genres of Indonesian performing arts themselves.; Unlike those genres, which are somewhat astonishing in number and variety, there is limited documentation concerning developments in modern theatre. This applies equally to documentation within Indonesia and without. Therefore I have found it necessary to reach as far as possible into the social, cultural and political roots of the theatre over several successive periods of generation, degeneration and regeneration of theatre groups and to access all resources available.; In order to explore developments from the late 1880's, the study employs a documentary strategy addressing relevant periods, creative dynamics, and specific phenomena occurring in the history of modern theatre. I emphasize a new literature of nationalism for the theatre, the influence of Western style and form, effects of foreign administrations under the Dutch and the Japanese and including a discussion of the measures of control administered in the governance of the Indonesian Republic itself.; Findings in the study reveal a theatre that is multi-dimensional and multi-directional inspired by performance traditions drawn from the roots of a rich cultural heritage. These roots are fundamental to the generation of new traditions and are the cornerstone of modern theatre forms up to this day. They are of regional significance for development of the theatre in the provinces, particularly as the movement towards regional autonomy strengthens.; The study is not confined to documentary form alone. It is also intended as a critical analysis of the problems modern Indonesian theatre has faced in the past and which continue to be symptomatic to this day. In this respect the dissertation opens up prospects for future research at all levels of endeavour by academics, theatre practitioners, and students of the theatre who desire to pursue further developments in modern Indonesian theatre.