An Ethnographic Approach to Role-Playing in a Performance of Madurese Loddrok

Abstract

20 October 1986: the Rukun Kemala troupe is hired to perform at a wedding in Kalianget Barat, its home village from 8.30 p.m. to 2.30 a.m. In a courtyard between two houses, the stage is erected on poles, with a floor of woven bamboo panelling; one whole side will collapse in the middle of the night under the strain of the actors' entrances and exits, without so much as the performance being interrupted. The gamelan orchestra begins to play at 8.30 p.m. exactly, as contracted. Fifty minutes later, slides are projected onto the lowered stage curtain depicting names of the head and leading members of the troupe together with words of welcome to the audience. At 9.30 p.m. the curtain is raised for the first time to reveal a ten-minute dance number: four female dancers appear before the monumental split gates of a Hindu kingdom bathed in red light and strobe effects with Catherine wheels whirling. Next, photos of clowns are projected while the public is harangued to take an active participation in the forthcoming elections, family planning and family education organizations. The curtain rises again to reveal a painted backdrop depicting a street scene in an imaginary modern town, to accompany the clown programme which lasts forty minutes. A final set of slides, ten minutes long, this time shows the actors dressed in the costumes of the characters they are about to portray, with a brief introduction to the story by the scriptwriter. At 10.30 p.m. the curtain opens on the first scene of the play which will last four hours without an interval: ‘Black Mask, in the Story of Yuliati Awaiting Happiness’ (Topeng Hitam dalam kisah Yuliati menanti bahagia).

The Muncie Race Riots Of 1967, Representing Community Memory Through Public Performance, And Collaborative Ethnography Between Faculty, Students, And The Local Community

“…The use of oral history and ethnography as the basis for public, community performances is commonplace (see, e.g., Bouvier 1994;Pollock 1990;Wolf 1994). Translating these models as pedagogical or research tools is also well known and articulated (see, e.g., Allen and Garner 1995;Jeffries 1999;Mienczakowski 1995;Turner and Turner 1986).…”

On the origin of the Komedie Stamboel. Popular culture, colonial society, and the Parsi theatre movement

“…Komedie Stamboel actors tended to be typecast, consistently playing the role of young man (anak muda), king (raja), or genie (jin) in play after play. This meant that the stage business in any given performance -Standard greetings used on meeting and departure, threats (mau di bikin mampus sekalian\), and the likewas much the same as in other plays enacted in the past, and did not need to be written down by the scenarist (see Bouvier 1995). 44 It was also the typical practice for the director-playwright to convey his scripts orally to the company members, rather than handing, out parts or scripts.…”