Hans-Thies Lehmann's study of the post-dramatic on the development of European dramaturgical ideas and their influence on contemporary theater and performance practices played a vital role in articulating the relationship between drama and the 'no longer dramatic' forms of theater that emerged since the 1970s. Meanwhile, the birth of contemporary Indonesian theater developed rapidly in the same period, which was followed by the rising of art campuses as well as revolutionary artists or groups who opposed the Soeharto dictatorship as an attempt to avoid the strict censorship in artistic practice at that time.

Post-dramatic theater opens up the widest possible opportunities as an aesthetic phenomenon that is influenced by the culture of any society, which is also part of the globalization of art that emerges as the foundation of contemporary art. This makes it possible, in the context of contemporary Indonesian theater, to be read as part of the celebration of diversity contained in the spirit of post-dramatic theater. The arrival of the reform period in 1998 marked an important milestone to re-examine the practices of creating performing arts in Indonesia as a celebration of theatrical aesthetic diversity, which is no longer monopolized within a standard methodological framework.

This paper will discuss the important position of 'new dramaturgy' in the development of Indonesian theater practices and at the same time, attempt to follow the traces of experimental performing arts as a youth movement that occurs because of the political context that accompanies its appearance.

Authors:
Hadiansyah Aktsar, University of Groningen, Netherlands

About the Presenter(s)
Hadiansyah is currently a master's student at the Faculty of Arts, University of Groningen. His research interests include cross-disciplinary studies on performing arts, dramaturgy, art policy, and arts sociology.

Connect on Linkedin
https://linkedin.com/in/hadiaktsar

Connect on ResearchGate
https://www.researchgate.net/profile/Hadiansyah-Aktsar

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