Writers: Putu Wijaya: Literary Innovator, Defying Boundaries

Based on a post by RuangSastra.com

I Gusti Ngurah Putu Wijaya, born on April 11, 1944, in Puri Anom, Tabanan, Bali, stands as a formidable force in Indonesian literature and theater. The third of five children—preceded by I Gusti Ngurah Oka Winartha and Ni Sagung Rai Wiratni—he was the son of the late I Gusti Ngurah Raka (who passed away in 1970) and Mekel Erwati (who passed away in 1992).

Early Education and Literary Beginnings

Putu’s formal education took him from elementary education at Sekolah Rakyat I in Tabanan and junior middle secondary SMP Negeri Tabanan to senior middle secondary at SMA Negeri Singaraja. He pursued higher studies at Gadjah Mada University, where he earned a law degree in civil law in 1969. His passion for the arts also led him to attend Asdrafi for three years and ASRI for one year.

By 1969, Putu had relocated to Jakarta, where he currently resides with his wife, Dewi Pramunawaty, in the Sunter Mas residential complex.

A Prodigy of Drama and Fiction

Writing since middle school, Putu’s debut short story, “Etsa,” appeared in Suluh Indonesia, a Bali-based newspaper. His first foray into theater occurred in high school when he performed Anton Chekhov’s “The Boor” under the direction of Kirjomulyo. He soon began writing, performing, and directing plays, founding his own theater group in Yogyakarta.

Between 1967 and 1969, Putu joined the renowned theater group Bengkel Teater, later moving to Teater Kecil company in Jakarta and performing once with Teater Populer. In 1971, he established his own theater company Teater Mandiri, championing the concept of “Bertolak dari yang Ada” (Starting from what Exists). His annual productions at Jakarta’s arts center Taman Ismail Marzuki (TIM) and Gedung Kesenian Jakarta (GKJ) aimed to provoke “mental terror” through his distinct theatrical vision.

Journalism and Global Reach

In addition to his creative endeavors, Putu held editorial roles at magazines Ekspres and Tempo (1971–1979) before becoming managing editor at the journal Zaman (1979–1985). A seven-month stay at the communal society of Ittoen in Kyoto left a profound impact on his worldview, inspiring the principle of “work as worship.”

He further honed his craft at the International Writing Program in Iowa for eight months, performed at the Festival de Théâtre de Nancy in France, and returned to the United States between 1985 and 1988 as a Fulbright visiting lecturer and director. Notably, his plays Gerr (Geez) and Aum (Roar) were staged in Madison, Connecticut, and at La MaMa in New York City. In 1991, as part of the Indonesian Arts Festival (KIAS), he toured the U.S. with Teater Mandiri’s performance of Yel.

Putu was also a professional fellow at The Japan Foundation from 1991 to 1992, working on a novel and engaging with the Center for Southeast Asian Studies at Kyoto University.

Expanding into Television and Film

Putu established Putu Wijaya Mandiri Production to produce television dramas. His first series, Dukun Palsu (Fake Shaman), aired in a 13-episode run on television station SCTV. His screenwriting and directorial credits include the television series PAS (52 episodes), None (39 episodes), Warteg (20 episodes), and Jari-jari Cinta. He directed three feature films: Cas-Cis-Cus, Zig-Zag, and Plong.

Recognitions and Translations

Putu’s literary achievements earned him the SEA Write Award in Bangkok (1980), three Citra Awards at the Indonesian Film Festival for the screenplays Perawan Desa (1980), Kembang Kertas, and Ramadhan dan Ramona (1993), and the Anugerah Seni Award from Indonesia’s Minister of Education and Culture (1991). His works have been translated into Dutch, English, Russian, French, German, Japanese, Arabic, and Thai.

Select Bibliography

Drama

• Dalam Cahaya Bulan
• Bila Malam Bertambah Malam
• Invalid
• Tak Sampai Tiga Bulan
• Orang-Orang Malam
• Lautan Bernyanyi
• Aduh
• Anu
• Edan
• Hum-Pim-Pah
• Dag-Dig-Dug
• Dor
• Blong
• Ayo
• Awas
• Los
• Gerr
• Aum
• Zat
• Tai
• Front
• Aib
• Wah
• Hah
• Bah
• Jpret
• Aeng
• Aut

Monologues

• Dar-Der-Dor (13 monologues)

Novels

• Bila Malam Bertambah Malam
• Telegram
• Pabrik
• Stasiun
• Keok
• Teror
• Tiba-tiba Malam
• Sah
• Ms
• Tak Cukup Sedih
• Ratu
• Mas
• Lho
• Nyali
• Pol
• Perang
• Merdeka
• Cas-Cis-Cus
• Aus
• Kroco
• Byarpet
• Nol
• DangDut
• Kaki Lima

Essays

• Tradisi Baru
• Teror Mental
• Bertolak dari yang Ada

Short Story Collections

With over 500 short stories, some of his collections include:

• Es
• Born
• Gres
• Protes
• Darah
• Klop
• Bor
• Plot
• Yel

10 Major Themes in Putu Wijaya’s Writing

1. Mental Terror and Existential Angst
   A key concept in his drama, “teror mental” reflects a psychological unease stemming from societal pressures, personal conflicts, and the unpredictability of life.
2. Absurdity and the Surreal
   Putu’s works often embrace absurdity, blurring the boundaries between reality and imagination to challenge conventional thinking.
3. Power and Authority
   Themes of political power, corruption, and the abuse of authority appear in works that critique oppressive systems and question hierarchical structures.
4. Freedom and Rebellion
   His characters frequently wrestle with autonomy, rebellion, and the desire to break free from societal constraints.
5. Identity and Alienation
   Exploration of personal and cultural identity, often set against a backdrop of rapid modernization and traditional values, recurs throughout his stories.
6. Chaos and Disruption
   Putu often depicts chaotic situations as metaphors for larger social or personal disorder, reflecting instability and unpredictability.
7. Death and Mortality
   The inevitability of death and its psychological and philosophical implications are recurring subjects, sometimes treated with dark humor.
8. Spirituality and Ritual
   Balinese cultural elements, spiritual rituals, and mystical beliefs are woven into his narrative worlds, reflecting his heritage.
9. Social Criticism and Satire
   His works frequently critique societal norms, hypocrisy, and the superficiality of modern life, employing satire and irony.
10. The Complexity of Human Emotion
    Love, anger, fear, and despair are explored in depth, often with a raw, unfiltered portrayal of human vulnerability.

10 Prominent Narrative Features of Putu Wijaya’s Writing

1. Minimalist and Direct Language
   His writing is characterized by sharp, concise sentences that cut to the heart of a story’s tension or conflict.
2. Non-linear and Fragmented Structure
   Putu frequently employs non-linear storytelling, jumping between events or perspectives to mirror the chaotic nature of life and thought.
3. Use of Repetition for Emphasis
   Words, phrases, or ideas are often repeated to create rhythm and reinforce thematic content.
4. Surreal and Dream-like Imagery
   Vivid, surreal descriptions and fantastical elements are integral to many of his narratives.
5. Interplay of Humor and Tragedy
   Dark humor and tragic elements coexist, highlighting the absurdity of human existence.
6. Dialogue-driven Scenes
   His drama and fiction often feature rapid, intense dialogue that drives the plot and develops character conflict.
7. Symbolism and Metaphor
   Objects, events, or actions frequently carry symbolic weight, offering layered meanings that enrich the text.
8. Strong Visual and Theatrical Sensibility
   His background in theater informs his prose, resulting in scenes that feel dynamic and performative.
9. Unresolved Endings
   Many of his works resist tidy conclusions, leaving readers with ambiguity and open-ended questions.
10. Breaking the Fourth Wall
    Putu’s narratives sometimes challenge the reader directly, creating a meta-theatrical or self-reflexive effect.

These themes and features combine to make Putu Wijaya’s oeuvre distinctive and impactful, resonating with readers both in Indonesia and internationally. His works confront societal norms and human frailty with a fearless, inventive voice.