Putu Wijaya life and biography

Putu Wijaya (author) has written approximately 30 novels, 40 plays, about a thousand short stories, hundreds of essays, freelance articles, and criticism of drama. He also wrote film scripts and soap operas. As a playwright, he headed the Independent Theatre since (Teater Mandiri) 1971, and has staged dozens of plays inside and outside the country. Dozens of awards he achieved literary and soap opera scenario.

Kompas and Sinar Harapan often includes his short story. Novels often appear in magazines Kartini, Femina, and Horizon. Won a fiction writing contest for him is unusual. As a screenwriter, he won the cup twice in the image of the Indonesian Film Festival (FFI), Perawan Desa (1980), and Kembang Kertas (1985). As a writer of fiction has produced many books. Among other things, a lot open for discussion: Bila Malam Bertambah Malam, Telegram, Pabrik, Keok, Tiba-tiba Malam, Sobat, Nyali.

His name is I Gusti Ngurah Putu Wijaya commonly called Putu Wijaya. Not difficult to recognize because the white cap was always perched on his head. The story, on his father Ngaben in Bali, head digundul. Back to Jakarta, after a long, hair grow, but not perfect, even close to bald. Therefore, he always wore a hat. "By this I look more handsome," said Putu said, joking.

Putu Anom, who was born in Puri, Tabanan, Bali on April 11, 1944, not from a family of artists. He was the youngest of five brothers and three half-brothers sons of my mother. He lived in a large housing complex, home to around 200 people, which all family members near and far, and had a habit of reading. His father, I Gusti Ngurah Raka, a retired courtier hard in educating children. Initially, her father expects Putu be a doctor. However, Putu weak in science. He is familiar with the history, language, and earth science.
While in elementary school,''I am very fond of reading,''he said,''From the essay by Karl May, the book literature of his Human Comedy William Saroyan, until the pulp stories that stimulate estrus. Since childhood, I am also glad the performing arts. Perhaps it is a talent, like the art of selling, "he recalled.

However, he never opted to play the drama semasih childhood, as well as middle school. Only after winning declamation contest, he opted to play a farewell high school drama, directed by Kirdjomuljo, poet and director renowned in Yogyakarta. He first played in the Rhinos, the works of Anton Chekov. "Since then I'm so glad the drama," recalls Putu.

After finishing high school, he continued his studies in Yogyakarta, a city of art and culture. In Yogyakarta, in addition to lectures at the Faculty of Law, Gadjah Mada University, he also studied painting at the Academy of Fine Arts of Indonesia (ASRI), the drama at the Academy of Dramatic Arts and Film (Asdrafi), and increase its activities compose. From the Faculty of Law, Gadjah Mada University, he earned a law degree (1969), from Asdrafi he failed in thesis writing, and art activities he gained from his identity as an artist.

During live in Yogyakarta, literary activities are more focused on theater. He has performed with Theatre Workshop leaders WAS Rendra in several performances, including the staging Bip-Bop (1968) and Waiting for Godot (1969). He has also performed with groups Bamboo Studio. In addition, he also (have courage) to appear in his own work entitled "Ocean Sing (1969). He is the author of the manuscript as well as director of the play. Drama script that became the third winner of the play Writing Competition organized by the Board of Trustees of the National Theatre of Indonesia.

After about seven years living in Yogyakarta, Putu moved to Jakarta. In Jakarta he joined the Little Theatre renowned orphanage director Arifin C. Noer and Popular Theatre. In addition, he also worked as editor of the magazine Express (1969). After the magazine's death, he became editor of Tempo magazine (1971-1979). Together with colleagues at the magazine Tempo, Putu established Independent Theatre (1974). "I need to work as a journalist to support my family. Also because I do not want my authorship disrupted by the need to feed," said Putu.

At the time still working at Tempo magazine, he got a scholarship to study drama (Kabuki) in Japan (1973) for one year. However, because it does not feel at home with his environment, he learned only ten months. After that, he was active again in the magazine, Tempo. In 1974, he followed the International Writing Program in Iowa, United States. Before returning to Indonesia, stopping in France, to play at the Festival of Nancy.

Putu admitted learning a lot from Tempo and Goenawan Mohamad. "What stuck in my head was how to write something that is difficult becomes easy. Writing in the style of a fool, so who understood not only ministers, but also a pedicab driver. That's the style of Tempo," Putu said. He also familiarize yourself with the deadline - an ordeal for most authors. Of Tempo, the magazine moved to Putu Age (1979-1985), and he remained productive writing short stories, novels, plays, and mementaskannya through Theatre Mandiri, they lead. In addition, he also taught at the Academy Theater, the Jakarta Arts Institute (IKJ).

He has experience of playing overseas drama, among others, the World Theatre Festival in Nancy, France (1974) and the Festival Horizonte III in West Berlin, Germany (1985). Teater Mandiri He also brings touring the U.S. in Yel and performed the play in Japan (2001).
Because the more prominent literary activities in the field of theater, Putu Wijaya was better known as a playwright. Actually, besides berteater he also writes short stories and novels in a rather large amount, in addition to writing essays about literature. A number of his works, both dramas, short stories and novels have been translated into foreign languages, including English, Dutch, French, German, Japanese, Arabic, and Thai.

Putu style writing novels is not much different writing style drama. As in his plays, in his novel he was inclined to use force in a central objective narration and stream of consciousness style of expression - full of incident that the pieces of solid, intense in the portrayal, expressive language. He is more concerned with the contemplation rather than history.

The theater is the concept of mental terror. For him, terror is a defection, betrayal, crime, subversive action against the logic - but real. Terror does not have hard, strong, powerful, scary, even whispering, may also absolutely colorless.
He asserted,''the theater is not just part of the literature, but a spectacle.''Manuscript the play is not equipped with the instructions how to play. Presumably, giving the freedom for other directors to interpret. When you mention social problems, his work without protest, not mocking, also impartially. Each scene runs agile, sometimes exploding, this humor.Mungkin alternated personal reflection. Strong individuality, and highly disciplined.

When asked the author thought that a day can make up a story 30 pages, wrote four articles in one day is about stationery, Putu said,''Writing is a slit neck without hurting,''he said,''even if you can without being noticed.''Arts diibaratkannya like a basin, reservoir blood anyone or anything that was cut: the situation is problematic, the environment, mystery, and the various meanings that were scattered. ''Art,''he said,''is one tool to express meaning, so that could be shed to another human being completely.''

"I strongly believe in instinct," said Putu about how to write. "When I write, I do not have anything material. All just came to me when at the computer," he said again. He believes that there is one galaxy in the brain that we do not understand how it works. But, according to Putu, it's not a mystical event, let alone act of possession.

In addition to her world of theater and writing, Putu is also a director of movies and soap operas and wrote the scenario of a soap opera. The movie is a movie directed Cas Cis CUS, Zig Zag, and Plong. Soap operas are directed Fake Shaman, PAS, None, Warteg, and Jari-Jari. Virgin is the scenario that he wrote the Village, Flower Paper, as well as Ramadan and Ramona. It won the Cup a third scenario image.

In 1977, he married Retno Yooscarini aka Renny Renny Djajusman are blessed with a child, Yuka Mandiri. Before getting married I wrote''sah, er, I experienced exactly as I write,''he said. ''My marriage broke up in 1984.''But he was soon widowed. Mid 1985, he married the girl of Sunda, Goddess Pramunawati, Medika magazine employee. Together Dewi, Putu Wijaya subsequent life in the United States for a year.

At the invitation of the Fulbright, 1985-1988, he was a visiting professor of theater and modern Indonesian literature at the University of Wisconsin and University of Illinois, USA. At the invitation of the Japan Foundation, Putu write a novel in Kyoto, Japan, 1992. After a long endeavor - although doctors in the United diagnose Putu would not have any more children - in 1996, the couple were blessed with a child, Taksu.

Household for him a "company". Whatever was decided based on the consideration of his wife and children, including about work. Problem children's education, "I have no way," said Putu. Children are considered as friends, sometimes consulted, sometimes scolded. And, Putu said, "I do not expect her to be anything, I just give it a chance."

Now, fans of dangdut music, rock, classical works of Bach or Vivaldi and jazz was a total only wrote, directed films and soap operas, and berteater. In the work he was always accompanied by music. Gymnastic exercise Satria Nusantara pranic energy. "Now I've reached the point that art is an effort of expression at the same time and place of work," said Putu.

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