Irony in Modern Indonesia’s Literary Plays

Chairul Anwar

and Silvia Anggreni Purba

The Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, Jl. Parangtritis Km 6,5, Yogyakarta, Indonesia

Keywords: Irony, Modern Indonesian Literary, Intertextual Reception

Abstract: The following study aims to analyze the irony in the literary of modern Indonesian play. Data collection

method used is literary study by recording and archiving. Data analysis method uses a content analysis

method. Researchers interpret the plays that become the object of research by relating the phenomena

contained in the texts of the plays to the concepts of irony, intertextual reception theory, and socio-historical

phenomena. The results of the study show the amendment cycle of irony from plays before independence to

the plays of the 1970s decade. The amendment started from the use of tragic irony, then semantic inversion

in various forms consisting of satire, paradox, parody, absurd, and finally back to tragic irony. The amendment

cycle of that irony is a representation of the cycle of change in Indonesian culture.

1 INTRODUCTION

Research about irony in the literary of modern

Indonesian play has never been done. So far, Sapardi

Djoko Damono (1983: 193) discussed the play

literary of the theatrical contest winner of Jakarta Arts

Council in the 1970s using a structuralism approach,

namely the discussion from the intrinsic elements

perspective of the literary play. While Goenawan

Mohammad (1981: 91) discusses literature in the

1970s from the author's perspective, that the plays

were written by the author not for literary purposes,

but for the sake of theater performances, because the

writers in that decade were directors who had theater

group that regularly performs.

Another approach is shown by Jakob Soemardjo

(1983), namely the discussion of modern Indonesian

performance literary from a socio-historical

perspective, that each period of the plays shows a

characteristic related to cultural alteration. However,

it is not explained further what characteristics and

cultural alteration are like. Some discussion of

literary plays that have been mentioned earlier, none

discuss the element of irony, and how the element of

irony is a representation of cultural alteration in

Indonesia.

This study aims to show how the irony in modern

Indonesian plays that are being the object of this

research is a representation of a cultural change in

Indonesia. The discussion started with the concept of

irony as a text that knit the intrinsic elements of the

plays, namely the theme, characterization, and plot

into intertextual woven. Based on the acceptance

horizon of researchers as readers, the concept of irony

is the text that becomes the red thread which knitting

intertextual woven aims to express the meaning, that

since before independence until the 1970s, modern

Indonesian plays were a representation of the cycle of

Indonesian cultural alteration.

Abrams (1976: 3-29) offers the main critical

approach model of literature as follows. First, an

approach that focuses on the structure of the literature

itself. This approach is called objective. Second, the

approach that focuses on the author, which is called

expressive. Third, the approach that focuses on the

universe, called mimetics. Fourth, the approach that

focuses on the reader is called pragmatics. An

objective approach emphasizes the analysis of

intrinsic elements of literature. A structuralism

approach that emphasizes the autonomy of literature.

However, this approach is considered regardless of

the socio-historical and community context. While

Heddy Shri Ahimsa Putra (1998: 20) states that a

textual study seeks to interpret the literature based on

a set of concepts that consider can provide an

appropriate interpretation of the text. Barthes (1981:

39) states that the interpretation of a text/script is

equipped with context, so that it becomes full

meaning, because every text according to Barthes (in

Seung, 1982: 12-15) is no more than a blank sheet

until the text is interpreted in the appropriate

significance context. Each textual analysis

presupposes the right significance context.

Anwar, C. and Purba, S.

Irony in Modern Indonesia’s Literary Plays.

DOI: 10.5220/0008543900050013

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 5-13

ISBN: 978-989-758-450-3

The Text comprehension according to the

intention of the author is explained by Hirsch (1967:

46-47, 207). Hirsch stated his central thesis, namely

the meaning of a literature only originates from the

intention or author’s wish (will). Junus (1985: 3-6)

added that the intention of the author is the main

principle of the interpretation of a literature. But

Junus (1985: 32) states that the intention of the author

must be equipped with concretization of literature,

because through the concretization of literature

carried out by the reader can be known "spirit of the

age", then the reader shows how an author transforms

the values that exist in previous literature into the

work that is writing by him.

Meanwhile, Jauss (in Junus, 1974: 12) focuses his

attention on how a creation acceptable at a certain

time based on a certain acceptance horizon that is

expected. Only with the active participation of the

reader makes literature can live. Jauss (in Yudiaryani,

2015: 41) states that the interpretation of the recipient

or reader is a bridge between literary work or artwork

and history, between aesthetic approaches and

historical approaches. Acceptance or reading and the

influence of reader knowledge actually cannot be

avoided as part of the aesthetic characteristics or

social functions of literature.

Jauss's reception theory (in Fokkema & Kunne-

Ibsch, 1977: 148-150) above start from the concept of

the expectation horizon (Erwartungshorizont), and

the concept of the hope horizon itself based on

cultural codes ". While Iser (in Teeuw, 1984: 201-

202) introduced the Wirkung concept, which the

reader considers literary works causes certain effects.

There is an empty place in a literary work filled by

the reader. Empty places in literary works are given

meaning by the reader through the elements that are

inside it.

Jauss and Iser's approach is considered as an

approach post-structuralism, or better known as the

deconstruction approach, and the pioneer of this

approach is Jacques Derrida. Derrida (in Culler, 1981,

1983) states that each text is weaving, meaning

weaving that cannot be determined or traced

definitively. If tracing a certain thread from a

weaving, then the meaning obtained will be different

from the meaning found when tracing other yarn.

According to Teeuw (1984: 145) Derrida

approach above in semiotic theory is based on the

principles of intertextuality or the relationship

between texts. This principle was first developed by

French researcher Julia Kristeva, that every literary

text is read based on the background of other texts.

Teeuw quote the intertextuality principles of Julia

Kristeva which states that every text manifests as a

mosaic of quotations, each text is an impregnation

and transformation of other texts. A creation can only

be read in relation to or conflict with other texts,

which is a kind of lattice, and through the lattice so

the text is read.

Culler (1981: 63-64) and Barthes (in Young,

1987: 38-39) state that text can be read only in

conjunction with other texts and open the possibility

of discursive codes, moving codes, codes that living

discursive spaces of a culture. While Yudiaryani

(2015: 23) states that text theory considers the text as

hypology, a that is a knit, weaving, networked

While the concept of irony stated by Cicero (in

Muecke, 1982: 16-17) is an expression that

contradicts with its meaning. People say something,

but it means another. For example, say praise, but the

intention is to insinuate, or mocking. Irony can also

be interpreted as a depiction of pretending behavior,

a falsification. Irony can mean semantic inversion, or

exchange or transfer of meaning. The irony can be in

the form of satire, which is innuendo by creating

crazy characters or nuts, or stupid, moron, or in the

form of betrayal of an unconscious character. Satire

is an innuendo to improve morals.

Schlegel (in Muecke, 1982: 18-35) states that

irony can also be in the form of a parody. Parody

highlight things that are unusual or inappropriate,

such as the creation of characters that deviate from

certain rules, norms, and morals, sometimes indicated

by ambivalent behavior. The irony can also be in the

form of contrasts that experienced by people with

their hopes, fears, wishes, desires, passion, efforts,

which fail due to fierce and rigid fate, showing a

darkness, namely tragic irony. The principle of irony

is the disclosure of contradictory things. The forms of

irony consist of contradictions, opposition, paradox,

satire, parody. Irony also shows strange things, odd,

unusual, unacceptable to ordinary reason, namely

what is called absurd irony.

2 ANALYSIS METHOD

Researchers in this study interpret the texts of modern

Indonesian plays in the context of appropriate

significance, namely the use of irony which is a

representation of Indonesia's cultural cycle. Sapardi

Djoko Damono's approach is an approach intrinsic

element perspective, Goenawan Mohamad is an

approach from the author's intentional perspective

which is incomplete because it is not equipped with

concretization actions, does not fill empty places in

the text, so it is unreadable how the writers of modern

Indonesian plays transform the values of the previous

performances. The transformation of these values is

the spirit of the age as a representation of Indonesian

culture alteration.

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

Based on the expectations horizon and acceptance

of researchers, conducted an interpretation of the

usage of modern Indonesian plays irony as a history

of Indonesian culture alteration. Researcher's

interpretation starting from the irony as a text that

weaves the text of modern Indonesian plays, namely

intrinsic elements, consisting of themes,

characterizations, grooves, and background

(settings), then associated with texts outside the

intrinsic elements of the plays. Researchers concreted

by reading the intrinsic elements of modern

Indonesian plays and filling them with irony analysis,

then connected with the socio-historical context of

Indonesian culture. The assumption of the researchers

is that the irony in modern Indonesian plays

permeates and transforms the values of the plays

before independence and after independence which

contradict each other.

2.1 Irony in Literary Play before

Independence

The plays before independence were represented by

Sanusi Pane’s masterpiece, namely Kertajaya (1932)

and Sandhyakala ning Madjapahit (1933) (hereinafter

referred to as K and SM). According to Teeuw (1990:

156), K and SM showed Kertajaya and Damarwulan

figures who fought for freedom but met their death

very tragically. Both figures are shown to the reader

as a king who truly fights for freedom but failed. The

two figures were shown in a special way, namely

fighting for freedom, but eventually surrender to the

collapse of freedom itself. Both figures experienced

tragic irony. The description of the tragic irony

experienced by the two figures is a representation of

the freedom fighters at that time who were powerless

against the Dutch colonial government who acted

violently against thoughts about freedom.

But in 1940 Sanusi Pane wrote another play, that

is Manusia Baru (hereinafter called as MB) which

showed contradictory phenomena. Teeuw (1980: 48-

49) states, that the MB play takes the background of

modern India and discusses the problem of society,

namely the relationship between workers and

employers, and individual responsibility of both

parties in such a conflict. The author shows a deeper

interest in the problem of new cultural developments

and their solutions

MB play describes Surendranath Das as the leader

of the workers. While in Madras there was a dispute

between the employer of the weaving factory and the

workers. The employers led by Narayanswami Wadia

were unwilling to meet the demands of the workers

who demanded a wage increase and reduced working

hours. The employer is not willing to fulfill these

demands. The workers hold a strike. Surendranath

Das leads the strike. The workers experience life

difficulties. The assistance came from Saraswati

Wadia, a second daughter from an employer and her

boyfriend Surendranath Das. The Minister of Industry

intervened, and the final decision was the workers

won.

MB plays perform in India with figures who are

also Indians. But the situation shown by the play is a

representation of the situation and condition in

Indonesia at that time. The characterization and scene

of this play refer to India, so got the question why not

in Indonesia? H.B. Jassin (1967: 196) states that

disputes between workers and employers in industrial

areas that are not shown in Indonesia are not merely

the reason why the MB plays in India and not in

Indonesia, but more than that because of political

psychological reasons. At that time the Dutch

colonial government would easily take a crackdown

on thoughts about freedom that was considered

dangerous. The irony in the MB play is a semantic

and satirical inversion. MB play moves the

characterization and setting (background) of

Indonesia to India. The move was a satire or teasing

about the situation and condition in Indonesia at that

time. So, the MB plays leave tragic irony and make

changes using semantic and satirical inversion irony.

A change that is contrary to the previous Sanusi Pane

work.

Teeuw (1990: 157) relates the Sanusi Pane’s

masterpiece to the "cultural polemic", in which the

cultural thought of Sanusi Pane contradicts to Sutan

Takdir Alisjahbana. Sanusi Pane argued that Western

culture prioritizes physical and forgets spiritual.

Western culture is more concerned with materialism,

intellectualism, and individualism that are exploiting

the environment so that it forgets justice. While

Eastern culture, including Indonesian culture, is

guided by the principle of balance and harmony

which unites materialism, intellectualism, and

individualism with spiritualism.

The main problem in the MB play is a modern

problem. Surendranath Das figure tries to integrate

body and spirit, but orientation is focused on efforts

to make difference so that the new aspired man is

successfully created. Sanusi Pane was disappointed

with the mind that attached to the old culture, to the

concept that already died, which had disappeared,

which could no longer give an inspiration. The

thoughts of Sanusi Pane seen from this point of view

experience a change because they are contrary to the

periods of K and SM.

Irony in Modern Indonesia’s Literary Plays

2.2 The Irony of Plays after

Independence

The pioneer of the writers after independence period

was Utuy Tatang Sontani,Motinggo Boesye, and

Nasjah Djamin. The play created by Utuy Tatang

Sontani was Awal and Mira, won the BMKN prize in

1952. While the play by Motinggo Boesje was Malam

Jahanam, won the first BMKN prize in 1958. Nasjah

Djamin's play was Black Dots which won the 2nd

BMKN prize in 1958

Awal and Mira play (hereinafter called as AM) by

Utuy Tatang Sontani, tells the story of a young man's

love for a rabble girl in the after independence era.

These characters experience obstacles not only

because of their different status but also because of

their conflicting environment. In addition, because

the girl suffered a disability in the legs that no one

ever knew. Awal is a weak young man, but loves

Mira. Awal never knows Mira's disability. But at the

end, the secret Mira’s disability was known by Awal.

Mira is a symbol of an independent rabble woman,

free not to work for the benefit of the Dutch colonial

government. This status is considered to be flawed by

the Dutch colonial government and the priyayi. While

Awal is a symbol of representation from the priyayi

environment that is not independent. The priyayi

ruled in the feudal era but suffered a prestige

decadence after independence. Awal’s weakness is

considered a defect by fighters who want to be free

not to depend on the Dutch colonial government. The

priyayi become individuals who do not know their

strength. Mira opposed Awal’s weaknesses by

proposing real challenges, namely freedom or

independence. Awal considers the challenge as an

insult. But the challenge caused Awal’s power, to

dare to knock down Mira's shop. Along with the

collapse of the Mira shop, a barrier wall that has

separated their social status has also collapsed. Awal

and Mira merge into individuals who realize that their

power is in freedom.

The AM play continues the satirical irony that has

been used by MB play created by Sanusi Pane in

front. However, the AM play made a variation on the

satirical irony with an irony of parody which satirized

the class of the priyayi who were weak and not free.

This means that they cannot work independently

because of all this time their work as a bureaucrat.

Their lives depend on the government of Dutch

colonialism. This is contrary to Mira who is

independent in her freedom.

Meanwhile, Malam Jahanam play (hereinafter

called as MJ), Motinggo Boesje's work tells the story

of Mat Kontan who brags about having children, but

his parrot reveals that the child is not his son, but the

son of Soleman, his neighbour, and best friend. Mat

Kontan resigned because he did not have manliness

as a man. Mat Kontan's character is a paradoxical

irony that is a representation of empty spirited and

cowardly warriors. The paradox in the form of Mat

Kontan's escape to turtledove and big talk. This

means that the Mat Kontan is a representation of a

bullshitter fighter. Mat Kontan fills the weakness by

boasting. Turtle dove bird is a representation of

priyayi's who claim to be fighters, but their feudal

attitude. While Paijah, his wife who had an affair with

Soleman was praised with big talk to the village

people.

The MJ play continues the tradition of satirical

irony by making variations of paradoxical irony. The

use of irony is a representation of fake fighters who

can only brag, but in reality, their real struggle does

not have the courage and ability. But people respect

them.

The Titik-Titik Hitam play (hereinafter called as

TTH), Nasjah Djamin's work revolves around Hartati,

who has been married to Adang for five years, but she

falls in love with her sister's husband, Trisno. Hartati

is a strong-willed, self-centered, but also a wasteful

woman. Her desire to seize freedom and her nature of

waste turned out to make her miserable. While Trisno

is an artist who also loves freedom. Hartati is

confined to emptiness and loneliness in her marriage.

Lies and betrayal were carried out by Hartati and

Trisno. Trisno was willing to take responsibility if

Hartati divorced Adang and chose her. But Hartati did

not want to divorce from Adang, but she also did not

want to lose Trisno. Trisno likewise, if Hartati

maintained her household with Adang, then Trisno

also preferred Rahayu, his wife who was also his

younger brother Hartati. The conclusion is, the TTH

play continues the use of satirical irony and parody,

but by making variations of ambivalent behavior. The

use of irony is a representation of ambivalent

behavior. Hartati and Trisno were representatives of

the priyayis who were still tied to old morals, even

though their act of cheating was a representation of

the behavior of individuals in the new age who loved

freedom.

2.3 Irony in Indonesian Plays in the

1970s

Next is the " Rumah Tak Beratap dan Rumah Tak

Berasap" play created by Akhudiat, the second

winner of the Jakarta Arts Council's writing

competition in 1974 (Sapardi Djoko Damono (1983:

193). This play (hereinafter referred to as RTBRTB)

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

tells the figures of Yu and Dik, street dancers who

were also prostitutes, they passed by the building,

where Andre live, a computer graduate from France

graduated, when he was in high school, he had been a

"prey" of Yu's patience, and Andre lived with his

family. Andre as Ande (Ande Lumut), perhaps not

because he deliberately insinuated the young man, but

indeed because they could not say "r French" tucked

into the word "Andre", Andre belonged to a culture

that was foreign to both of them. He felt educated to

assume that the world of Yu and Adik is "Jowo"

world that strange for him, and Andre did not know

the word Ande (- Ande Lumut) The RTBRTB play

emphasizes how "Jowo" they are by creating a group

of figures who live in a building house. The definition

of "Jowo" here is traditional culture. Andre, his

mother, along with the shadow of Madame Nelly,

Mademoiselle Ellen and something like that is a

representation of people who are oriented to Western

culture representing modern society. According to the

RTBRTB play, so far these two cultures have been

separated only by differences in language and

"Language". The use of Javanese language on Yu's

character and his group showed that RTBRTB's play

was deliberately insolent to show the "language"

problem. Furthermore, when Andre, who was always

floating in the middle of Western language, said one

sentence in Javanese, then immediately Adik said:

"Mas Andre wis Jowo". So Andre has become Java

because of using Javanese "language"; playing

quietly in the dark on the bed with prostitutes who are

dancers from traditional cultural backgrounds.

RTBRTB play hit Yu and his group with other

"cultural" groups. There is a character "Juragan", also

called "Menak". Juragan wishes to marry Adik.

However, then Juragan is confused, Adik or Yu who

he wants to marry because for him just the female is

enough. Finally "Juragan" chose Yu. The marriage of

"Mr. Gedongan" was a shocking event, especially

because the other skipper’s wifewas from under,

which might have been pregnant.

The RTBRTB play continues to use parody irony

to vary with the ambivalent behavior of the TTH play

as described above aimed at satirizing the priyayi

community oriented to Western culture, but in their

daily lives they still doing old feudal morals.

However, RTBRTB's play is more typical in its

disclosures, namely by using Javanese idioms taken

from Ludruk's performance.

Next is the Puti Bungsu play created by Wisran

Hadi, the first winner of the writing contest for the

Jakarta Arts Council in 1975 and published in Budaya

Jaya Edition 124 and 125, September - October 1978

(Umar Junus, 1978: 360 - 376). This play (hereinafter

referred to as PT) started from the nature of myth

taken from the socio-cultural structure of two

generations of Minangkabau people which is

contradict. The PT play takes three myths, namely the

myth of Malin Kundang, the Puti Bungsu Myth and

the myth of Malin Deman that does not stand alone,

but becomes a series.

The first essence is the mixing of people from two

descendants generations. A man searches for

"mother" in his wife, while a woman tries to get a

"father" in her husband. This nature is in the

traditional Minangkabau family relationship. A girl

who lives limited in a house with limited relationships

only to the woman feels that she will lose her father.

On the other hand, boys more live outside the home.

Even wander at a young age, so that they never felt a

mother's love fully. Therefore a man looks for a

"mother" for every woman, also for his wife and his

own child.

The next essence is the estrangement of a

relationship between wife and husband due to several

socio-cultural factors. A married couple in the

Minangkabau family system is not a unified entity,

because each one is still bound with their native

family. The husband can be said to be an extreme

"nighttime guest for his wife". Therefore it is not

surprising that a wife is more attached to her brother

than to her husband.

The next essence is the estrangement of the

relationship between mother and son, because the

child is more live outside the home and then go

wander plus the estrangement between boys and

fathers. As a result, there may be a conflict between

the child and his parent. This situation may develop

because of other things, namely "a close relationship

between people one generation", usually between

brothers and sisters. They fight against the treatment

of the older generation.

Next is the nature of children who do not

recognize their mothers and on the contrary mothers

who forget their children. This was revealed in the

form of subsequent contradictions, namely the

incident of Malin Duano impregnating Puti Bungsu,

who ispostscript his own mother. This is something

new too, which is from the present. Their connection

is manifested in a new name, namely Christian and

Tantri. Two names that are commonly found among

young people now. This is related to the myth of

Sangkuriang.

Next is the attachment of Mother II which can also

be said to be the attachment of Malin Kundang’s

mother to the "mamak" world. Mother II is separated

from her husband. The desire to be free from the

tyranny of the husband, caused Mother I to give birth

Irony in Modern Indonesia’s Literary Plays

Malin Deman and leave her husband. The desire to be

free from that man also causes Puti Bungsu not only

like a man. A sex life that can eliminate loyalty. This

is only possible because of the influence of modern

socio-cultural backgrounds.

The PT play has changed the nature of traditional

Minangkabau myths to the nature of new myths that

represent modern socio-culture. The myth is a part of

the past that is no longer a myth because it has been

replaced by another myth. Life history is a series of

mythical alteration.

The PT play continues the irony of semantic

inversion, namely moving the various myths that

exist in the lives of Minangkabau people, then

moving again into the life of modern society outside

the Minangkabau. If the semantic inversion irony in

MB plays by Sanusi Pane for avoiding the pressure of

the Dutch government's political psychology, then the

PT play develops into a hard satire that satirizes the

modern life of the nation itself, which is to seize the

freedom by breaking old moral boundaries. But the

PT play is more typical how its disclosure, namely by

using Minangkabau idioms taken from the randai

show.

The next play is Kapai-kapai, a masterpiece play

created by Arifin C. Noer which has been translated

into various foreign languages from various

countries. This play (hereinafter referred to as KK)

tells the character "Abu" which began in 1919, 1960,

1974 to 1980 always on the trap of destitution. The

concept of idealism could say that the character

"Abu" will carry out vertical mobilization, meaning

that the character "Abu" is able to establish a

partnership with "Employer", so that he is able to

eradicate himself from poverty and be treated fairly.

Such idealism has been expressed by Sanusi Pane in

the MB play before. However, such idealism is

quipped by KK plays. The cheating of the industrial

world manifested in the form of "employer"

exploitation toward "workers" caused widespread

poverty in the periphery where the industry was

founded. The family home environment of the "Abu"

character is shown to have only filthy chairs, bad and

worn mats, clothes that are more appropriate are

called rags, because somewhere else they have to be

torn so they can still be used. The roofs of the houses

all leaked and when the rain came it caused flooding

to oscillate all the furniture. A sight of how shabby

the life of the family "Abu" that might be hard to

accept common sense.

The pressure of destitution that constantly hits the

"Abu" character from year to year has dampened

"Abu" so that he no longer believes in religion. The

advice of the "Grandfather" character so that "Abu"

surrenders himself to God, because then he will feel

happy even though he is destitute, no longer be

considered "Abu" carefully. Structured poverty

fosters the habit of "Abu" fantasizing and dreaming.

He believed in the "Fairy Tale" more about the

"Mirror of Deception" that can give life happiness.

According to the figure "Emak", the "Mirror of

Deception" was in the kingdom of Prophet Sulaiman,

an empire that held an abundance of food and

property. Figure "Abu imagined being a" Prince "in

the kingdom. A "prince" who likes parties to drink

wine, eat grilled turkey and swoeke frog.

The interruption scene of "Dongeng Emak" above

is an irony of an absurd form, a sight that is unusual,

strange and unacceptable by ordinary reason, to show

that the character "Abu" fantasized as an escape from

his life which was suppressed by "Employer". KK

play shows a lot of interruptions of "Dongeng Emak"

plucked from the "1001 Night Tales" which tells of a

"Prince" successfully recapturing a Chinese princess

kidnapped by Jin Baghdad. After surviving, the

Chinese princess became the "Prince" wife. They live

happily. A happiness that must also be expressed

through songs which lyrics are picked from rhyme in

the lenong scene. That is, the poverty of a worker

named "Abu" can only be overcome by entertaining

him by using the lenong scene. This made funny

scenes that aim to quip "Employer". The "Dongeng

Emak" interruption is a satire that satirizes an

exploitative industrial system.

The KK plays continue the semantic inversion

irony that has been used by MB and PT. However, the

semantic irony of KK plays contradicts with Sanusi

Pane MB play in front. If the irony of the semantic

inversion of PT concern shows the characteristic of

the Minangkabau idiom taken from the randai show,

the KK play shows the typical Betawi idioms taken

from the lenong show. KK play also continued the use

of paradoxical irony like the MJ play in front. If the

paradox in MJ is a representation of counterfeit

fighters, then the paradox in the KK play is a

representation of the fate of workers that is contrary

to the idealism contained in the play of MB by Sanusi

Pane. The workers under the leadership of

Suredranath Das and assisted by Saraswati Wadia in

the MB play were able to touch the Minister of

Industry to take the decision that the "Employers"

fulfill the demands of "Labor", so that the workers

feel fair and prosperous. But the fate of workers such

as "Abu" in the KK play is not the case, they are

powerless in the clamp of the "Employer" power and

do not have an adequate form of rejection. KK's work

also uses absurd irony, namely the pleasure of the

character "Abu" entertaining himself into fairy tales,

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

wishful thinking, and fantasies about the life of

"Prince" in a wealthy palace accompanied by a

beautiful wife. KK cards are a representation of an

industrial system that is exploitative and will not be

able to solve the problem of poverty. The background

guidelines for 1919, 1960, 1974 and 1980 are

representations of how the exploitative industrial

system is the "history" of workers' clasps in structured

poverty spaces. If in the MB play, the fate of workers

is still in the hands of the Dutch colonial government,

then the fate of the "Abu" Labor who lived in 1960,

1974 and 1980 was the fate of workers under their

own independent national government, but still felt

unfair and not prosperous.

Next is the "Aduh" play, by Putu Wijaya, the first

winner of writing play contest of the Jakarta Arts

Council in 1974 (Imran T. Abdullah, 1978). This play

(hereinafter referred to as A) uses unique plot

elements. The plot of A play uses a way of stretching

as long as possible uncertainties in solving the

problem. The first round shows the suspicion that

success to manages a group, so the suggestion that the

character "Si Sakit" is quickly helped is ignored.

Finally, "Si Sakit" died helplessly. The second half

shows the prominence of the attempt to bury the body

"Si Sakit", but this effort is urged by other things that

control the group, namely the problem of smell,

ghosts, possessions, robbed corpses, places to bury

bodies, sex of corpses, untill dogs break the group.

The third round concerns the smell that still wafted

and still attached to their limbs. A plot formation

system captivates the reader or the audience in an

uncertain way. The rest of the play is interesting

because it ends without completion. Repetition at the

end, namely the reappearance of the character "Si

Sakit" by asking the same questions from group

leaders showing the symbol of the life cycle, the

history that repetative again.

A play uses absurd irony, that is, shows unusual

views, strange and unacceptable common sense to

develop problems, unite things that are illogical to be

logical, shape them into cycle problems, so that the

series of grooves form a circular pattern. The series

of grooves patterned in this circle are principally

symbols that want to say that the real problem has not

yet been resolved.

The character shown in the A play is not like in a

conventional play. The activities of characters in the

A play are symbols that seem playful. That is,

activities that look like playing games are actually

symbols. Therefore it appears that the development of

the story does not originate from the development of

the figure’s characters. The story is developed

through a framework of situations created by figures

such as: "Pioneer", "Leader", "The angry one,"

Deputy”, “Owner of Balm ", which can be played by

anyone in the" One of The " that there is inside group.

A play uses the irony of the inversion semantic form

so that these characters can change places, depending

on the situations to be created. They are symbolic

figures to makes funny situations. The”Owner Balm”

as well as to create a funny atmosphere and scene.

"One of the" figures urinated by the corpse. This

scene also shows the use of paradoxical irony, that the

dead man need to be helped, but instead got robbed,

and the robber is the Leader himself. The paradox is

when a leader who will help "the sick" (and "the

dead") steal the ring, rob property ("the sick") and the

"dead".

A play shows things that are exaggerated, causing

reflection, even though smiling because of the absurd

irony. The sick person is a symbol of irregularity. The

very serious Sick is a symbol of irregularities that

must be resolved quickly because the consequences if

not will be fatal. But in dealing with the problem

("The Pain"), this group of people did not try to solve

it with a firm and positive action.

A play is more concerned with events that actually

occur in society, even though it has been exaggerated,

and the thoughts expressed have already "made", so

there is no need to develop character. The characters

who are made and the characters can be anyone in the

community. Therefore, there is no need for an

element of physical description, there is no need for

the characteristics of the body. Such statements make

use of the irony of parody, namely the character of

respectable and dignified figures in the community,

but because their measures and actions deviate from

the rules, norms, morals and ethics of decency, so the

figures are then mocked, made playful and laughed

at. Such a statement can also be called a

dehumanization statement, meaning that individual

humanitarian actions are destroyed, figures only

remain as symbols of the mind, symbols of action.

Modern life with everything that is mass has resulted

in people losing their personality as individuals.

A play uses tragic irony to reverse the mud that

settles in life. The tragic irony is a representation of

the current attitude of society. The problem which is

developed in the A play is a representation of today's

society who have lost the joints of humanity.

Individuals are ensnared into mass groups. They have

turned into a part of a routine life machine without

creativity. A number of sentences that sound quite

sympathetic to "Si Sakit", but actually are just a small

talk. Automatic sentences, such as electronic devices

that emit sound, without the character itself realizing

the son. The character only asks, gives only guidance

Irony in Modern Indonesia’s Literary Plays

or advice, but no one from the mass figure becomes

an individual who has an authentic person and still

has a sense of humanity.

Individual attitudes tend to justify all the problems

which encountered based on previous experience,

without researching first, is one of the attitudes of

people who are changing in modern life, but losing

their sense of humanity. This is the one who quipped

with A play by using a satire in the form of a symbol

"Si Sakit" character who died because he did not get

help from the group, even the figures actually wanted

to avoid mistakes and responsibilities. The

community who have lost their humanity are always

clever in arguing, looking for scapegoats to free

themselves from responsibility. An expression uses a

very clear symbol of the destruction of individual

signs of humanity.

Leader use groups (mass) who accuse "Pioneers"

has robbing bodies when they fall asleep. Even

though the truth of dead body robbers is the"Leader".

The "Leader" figure here is a symbol of white colour

criminal, a white-collar criminal group. The attitude

of the "Leader" who pretended to mediate a fight but

secretly cornered the "Pioneer", so that he could not

defend himself, while simultaneously stimulating

others ("Deputy") to join together in destroying the

"Pioneer" good faith. This scene not only describes

how the "Leader" utilizes the moment, but also offers

the reader an alternative about how easily people

confuse the truth. Whether the truth is based on the

logic of reason and facts, or on the power of a group,

on a majority of votes, a group. This symbol begins

with the arrival of the sick, but because everyone is

not interested in taking the steps of salvation, causing

"The Pain" could not helped and died. The body

forms a symbol of danger that seems more serious,

but this group remains in its original attitude, without

any development in responding to the increasingly

serious situation.

The A play uses absurd irony as a representation

of how many problems are wrong in the community,

but no firm decision is taken to resolve the issue. If in

the KK play by Arifin C. Noer the problem that can

never be solved is the cooperation of workers and

employers in the industrial system, then in the A play

is cooperation between fellow members of the

community in upholding the truth. A play also uses

paradoxical irony. If in the MJ play by Motingo

Boesje the use of irony paradox is a representation of

false fighters then in the A play paradox irony is a

representation of leaders who should bring people to

live fairly and prosperous, but instead they make life

contradictory and the people miserable. A play

overturns the use of irony which so far has developed

in such a way that it is pulled back to tragic irony. If

the tragic irony in the plays of K and SM is a

representation of people who feel frightened and

depressed because of the power of the Dutch colonial

government, then the tragic irony in the A play is a

representation of people who feel scared and

depressed because of the new colonialist power that

entangles individual life into modern machinery and

changes the individual becomes a mass group. New

colonialism caused dehumanization. Individual

figures are destroyed, so that people lose an authentic

personality. Individuals lose the joints of humanity.

The community is shackled by the power of one

group or the most votes.

3 CONCLUSION

The play before independence, namely K and SM

created by Sanusi Pane show the alteration from the

beginning using tragic irony to the semantic inversion

irony. The alteration is a representation the change of

Sanusi Pane’s thought from the beginning in the form

of expression which experienced political

psychological pressure from the government of

Dutch colonialism power, then changed using the

irony of semantic inversion, a transfer of setting and

India characterization, aimed to avoid the political

psychological pressure of the Dutch colonial

government. The use of semantic inversion and satire

irony is a representation of the combination of

Eastern and Western cultures. MB play sets the

tradition foundation of using satirical irony.

The play after independence, AM, MJ, and TTH

continued the tradition of satirical irony in various

forms, namely parody, paradox and ambivalent

behavior. The use of parody irony is a representation

of cultural alteration and is that of respected

community figures, but deviates from norms, morals,

and ethics of decency, so it does not deserve to be a

rasper or role model. The alteration was also marked

by the use of paradoxical irony as an allusion to fake

fighters. Changes are also marked by the use of irony

which shows ambivalent behavior as a representation

of priyayi who want to seize new moral freedom, but

they still remain shackled by old morality.

The Indonesian character in 1970s developed an

element of parody irony that satirized the educated

middle class oriented to Western culture, but in their

daily lives they still continued to practice old feudal

and moral life. The irony of parody develops again

into the paradoxical irony that contrasts the integrity

of traditional myths which are destroyed by the new

myth of modern society. Furthermore, paradoxical

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

irony develops again into an absurd irony as a

representation of a modern industrial system that is

exploitative and unable to make society fair and

prosperous. Finally, the irony that has developed in

such a way is drawn back to tragic irony as a

representation of the cycle of cultural change. History

that repeated again. Indonesian society still opposes

traditional and modern culture. This is an irregularity

that has not yet been resolved.

REFERENCES

Abdullah, Imran. T.,1978. “Memahami Drama Putu

Wijaya: Aduh,” Laporan Penelitian untuk Proyek

Pengembangan Bahasa dan Sastra Indonesia dan

Daerah. Pusat Pembinaan dan Pengembangan Bahasa,

Depdikbud, Fakultas Sastra dan Kebudayaan,

Universitas Gadjah Mada

Abrams, M.H., 1976. The Mirror and the Lamp: Romantic

Theory and Critical Tradition,Oxford University Press.

London-Oxford- New York..

Barthes, Roland.,1981. The Theory of the Text.

Routledge.London.

Culler, Jonathan., 1981. The Puirsuit of Sign: Semiotics,

Literature, Deconstruction, Routledge & Kegan

Paul.London and Henley.

Damono, Sapardi Djoko., 1983. Kesusastraan Indonesia

Modern: Beberapa Catatan, Penerbit PT. Gramedia

Jakarta.Jakarta.

Fokkema, D.W. and Elrud D. Kunne – Ibsch.,

1977.Theories of Literature The Twentieth Century,

Structuralism, Marxism, Aesthetics of Reception,

Semiotics, C. Hurst & Company.London.

Hirsch, E.D., 1967. Validity in Interpretaion, Yale

University Press.New Haven.

Iser, Wolfgang., 1978. The Act of Reading : A Theory of

Aesthetics Responses,Routledge & Kegan

Paul.London.

Iser, Wolfgang.,1983.The Implied Reader: Patterns of

Communication in Prose Fiction From Bunyan to

Beckett,The John Hopkins University Press.Baltimore

and London.

Jauss, Hans Robert., 1974. ” Literary History as a

Challange to Literary Theory,” via Ralp Cohen (ed.).

(1974). New Direction in Literary History (p. 11-41),

The John Hopkins University Press.Baltimore.

Jauss, Hans Robert.,1983.Toward An Aesthetics of

Reception, University of Minnesota Press.Mineapolis.

Jassin, H.B., 1983. Kesusastraan Indonesia Modern dalam

Kritik dan Esei,Gunung Agung.Jakarta.

Junus, Umar., 1985. Resepsi SastraSebuah Pengantar,

Penerbit PT Gramedia. Jakarta.

Junus, Umar.,1978.“Realitas dan Mitos Dalam Puti

Bungsu”, dalam Majalah Budaya Jaya, 124/125 Tahun

Kesebelas-September/Oktober,hal. 360 – 376.

Mohammad, Goenawan. (1981, 1982). Seks, Sastra,Kita.

Jakarta. Penerbit Sinar Harapan

Muecke, D.C., 1982. Ironi and the Ironic,

Methuen.London and New York.

Shri Ahimsa Putra, Heddy.,1998. ”Sebagai Teks dalam

Konteks: Seni dalam KajianAntropologi Budaya,” dalam

Jurnal SENI Edisi VI/01,BP ISI, Yogyakarta

Sumardjo, Jakob., 1983. Peta Bumi Sastra Drama

Indonesia, Granesia.Bandung

Teeuw, A., 1980. Sastra Baru Indonesia, Penerbit Nusa

Indah.Ende-Flores.

Teeuw, A., 1984.

Sastra dan Ilmu Sastra: Pengantar Teori

Sastra, Pustaka Jaya.Jakarta.

Teeuw, A., 1990. Pokok dan Tokoh, Penerbit

Pembangunan.Jakarta.

Teeuw, A.,1991. Membaca dan Menilai Sastra, Penerbit PT

Gramedia Pustaka. Jakarta.

Young, Robert., 1987.Untying Text : A Post-Structuralist

Reader, Routledge & Kegan Paul.London and New

York .

Yudiaryani., 2015. W.S. Rendra dan Teater Mini

Kata,Penerbit Galang Pustaka.Yogyakarta.

Irony in Modern Indonesia’s Literary Plays