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Abisin Abbas ((:aˈbisɪn aˈbas); 26 February 1902 – 20 October 1961), better known by his pseudonym Andjar Asmara ((:anˈdʒar asˈmara)), was a dramatist and filmmaker active in the cinema of the Dutch East Indies. Born in Alahan Panjang, West Sumatra, he first worked as a reporter in Batavia (modern-day Jakarta). He became a writer for the Padangsche Opera in Padang, where he developed a new, dialogue-centric style, which later spread throughout the region. After returning to Batavia in 1929, he spent over a year as a theatre and film critic. In 1930 he joined the Dardanella touring troupe as a writer. He went to India in an unsuccessful bid to film his stage play ''Dr Samsi''. After leaving Dardanella in 1936, Andjar established his own troupe. He also worked at a publishers, writing serials based on successful films. In 1940 he was asked to join The Teng Chun's company, Java Industrial Film, helping with marketing and working as a director for two productions. After the Japanese occupation, during which time he stayed in theatre, Andjar made a brief return to cinema. He directed three films in the late 1940s and wrote four screenplays, which were produced as films in the early 1950s. He published a novel, ''Noesa Penida'' (1950). Afterward he worked for the remainder of his life writing serials based on local films and publishing film criticism. Historians recognise him as a pioneer of theatre and one of the first native Indonesian film directors, although he had little creative control of his productions. == Early life and theatre == Andjar was born Abisin Abbas in Alahan Panjang, West Sumatra, on 26 February 1902. He gravitated toward traditional theatre at a young age after visits from the wandering Wayang Kassim and Juliana Opera ''stambul'' troupes; he pretended to act with his friends in stage plays which they had seen. After completing his formal education up to the Meer Uitgebreid Lager Onderwijs (junior high school) level – first in Malay-language schools then Dutch ones – he moved to Batavia (modern-day Jakarta). He worked as a reporter for two daily newspapers, ''Bintang Timoer'' and ''Bintang Hindia''; he may have also worked on a farm. Around 1925, having had little success in Batavia, Andjar moved to Padang, where he was a reporter for the daily ''Sinar Soematera''. At the same time, he worked with the city's Padangsche Opera, writing stage plays. In contrast to the standard musical theatre of the time, ''bangsawan'', he promoted a more natural style, using dialogue instead of song to convey the story; he referred to this as ''toneel'', based on the Dutch word for theatre. Among the works he wrote for the Padangsche Opera were adaptations of ''Melati van Agam'', a 1923 work by Swan Pen, and ''Sitti Nurbaya'', a 1922 novel by Marah Roesli. These works were well received. In the late 1920s, after spending some two years in Medan with the daily ''Sinar Soematra'', Andjar returned to Batavia and in 1929 helped establish the magazine ''Doenia Film'', a Malay adaptation of the Dutch-language magazine ''Filmland''; although an adaptation, ''Doenia Film'' also contained original coverage of the domestic theatre and film industry. At the time, the cinema of the Indies was becoming established: the first domestic film, ''Loetoeng Kasaroeng'' (''The Lost Lutung''), was released in 1926, and four additional films were released in 1927 and 1928. Andjar wrote extensively regarding local cinematic and theatrical productions; for example, the Indonesian film critic Salim Said writes Andjar inspired the marketing for 1929's ''Njai Dasima'', which emphasised the exclusively native cast. In 1930 Andjar left ''Doenia Film'' and was replaced by Bachtiar Effendi. Andjar became a writer for the theatrical troupe Dardanella in November 1930, working under the group's founder Willy A. Piedro. Andjar believed the troupe to be dedicated to the betterment of the ''toneel'' as an art form and not only motivated by financial interests, as were the earlier ''stambul'' troupes. He wrote and published many plays with the group's backing, including ''Dr Samsi'' and ''Singa Minangkabau'' (''The Lion of Minangkabau''). Andjar also worked as a theatre critic, writing several pieces on the history of local theatre, sometimes using his birth name and sometimes his pseudonym. In 1936 Andjar went with Dardanella to India to record a film adaptation of his drama ''Dr Samsi'', which followed a doctor who was blackmailed after an unscrupulous Indo discovered he had an illegitimate child. The deal fell through, however, and Andjar left India with his wife Ratna. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Andjar Asmara」の詳細全文を読む スポンサード リンク
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