Njoo Cheong Seng
| Njoo Cheong Seng | |
|---|---|
 |
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| Born |
6 November 1902 Soerabaia, East Java, Dutch East Indies |
| Died | 30 November 1962 (aged 60) Malang, Indonesia |
| Nationality | Indonesian |
| Other names |
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| Occupation | Writer, film director |
| Notable work | Kris Mataram |
| Spouse(s) |
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Njoo Cheong Seng (Perfected Spelling: Nyoo Cheong Seng; Chinese: 楊章生; pinyin: Yáng Zhāngshēng; 6 November 1902 – 30 November 1962) was a Chinese-Indonesian playwright and film director. Also known by the pen name Monsieur d'Amour, he wrote more than 200 short stories, novels, poems, and stage plays during his career; he is also recorded as directing and/or writing eleven films. He married four times during his life and spent several years travelling throughout southeast and south Asia with different theatre troupes. His stage plays are credited with revitalising theatre in the Indies.
Njoo was born in East Java on 6 November 1902; the Indonesian sinologist Leo Suryadinata writes that he was born in Surabaya, while the writers Sam Setyautama and Suma Mihardja record him as having been born in Malang. He received his elementary education at a Tiong Hoa Hwe Koan school in Surabaya. By an early age he had begun contributing to Chinese-owned newspapers; his first literary work, Tjerita Penghidoepan Manoesia (Stories on the Life of Man), was published in Sin Po in 1919.
By the 1920s Njoo had begun writing extensively, often under the pen name Monsieur d'Amour; other pen names include N.C.S. and N.Ch.S. He wrote numerous stories for the Gresik-based publication Hua Po beginning in 1922, and in 1925 he helped establish the magazine Penghidoepan. Works published during this time included Menika dalem Koeboeran (Marry in the Grave) and Gagal (Failure), as well as the stage play Lady Yen Mei. They generally had numerous locations and cultural backgrounds, and were often relating to crime and detective work.
Njoo became active with the Miss Riboet's Orion troupe in the late 1920s, writing several of their stage plays, including Kiamat (Apocalypse), Tengkorak (Skull), and Tueng Balah. In 1928 he married the actress Tan Kiem Nio, a member of the troupe who was 14 years old at the time. Njoo coached her in acting and convinced her to take the stage name Fifi Young; Young was the Mandarin equivalent of Njoo's Hokkien surname, while Fifi was meant to be reminiscent of the French actress Fifi D'Orsay.
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