Hatley, Barbara Indonesian post-colonial theatre (Inside Indonesia, Jakarta, 1 August 2011).[1]Diarsipkan 2011-08-28 di Wayback Machine.
Quote: "In Ido’s original work the Dutch-educated son and daughter of a Javanese district head denounce their father’s feudalism, espousing European ideals of equality in keeping with mixed-race, anti-colonial nationalism. The daughter, Karina Adinda, an independent-minded young woman inspired by the example of Kartini, defiantly stabs herself in order to join her murdered Dutch lover and avoid the marriage arranged for her by her father. In the 1993 version, however, the daughter’s suicide is avoided by the sudden appearance of her Dutch beloved, miraculously rescued from death. The play ends with a tableau where the son invokes nobility of ideas and deeds and asks for moral guidance from God." Hatley, Barbara Indonesian post-colonial theatre (Inside Indonesia, Jakarta, 01 August 2011).[2]Diarsipkan 2011-08-28 di Wayback Machine.
web.archive.org
Hatley, Barbara Indonesian post-colonial theatre (Inside Indonesia, Jakarta, 1 August 2011).[1]Diarsipkan 2011-08-28 di Wayback Machine.
Quote: "In Ido’s original work the Dutch-educated son and daughter of a Javanese district head denounce their father’s feudalism, espousing European ideals of equality in keeping with mixed-race, anti-colonial nationalism. The daughter, Karina Adinda, an independent-minded young woman inspired by the example of Kartini, defiantly stabs herself in order to join her murdered Dutch lover and avoid the marriage arranged for her by her father. In the 1993 version, however, the daughter’s suicide is avoided by the sudden appearance of her Dutch beloved, miraculously rescued from death. The play ends with a tableau where the son invokes nobility of ideas and deeds and asks for moral guidance from God." Hatley, Barbara Indonesian post-colonial theatre (Inside Indonesia, Jakarta, 01 August 2011).[2]Diarsipkan 2011-08-28 di Wayback Machine.
