Dramatists discuss the future of their profession<\/p>\n
By Rita A. Widiadana<\/p>\n
JAKARTA (JP): Do Indonesian theaters still exist and are they
\neffectively voicing the aspirations of society?<\/p>\n
This difficult question became the main topic of a national
\nmeeting on theater last month.<\/p>\n
Organized by the Association of Indonesian Theaters,
\nthe meeting, the 10th of its kind since l969, involved dozens of
\nscholars, stage directors, art critics, government officials and
\ntheater groups from Indonesia's 27 provinces. The previous
\nmeeting was held in Surakarta, Central Java, last July.<\/p>\n
Although prominent Indonesian dramatists and scholars such as
\nW.S. Rendra, Putu Wijaya, Emha Ainun Nadjib, Teguh Karya,
\nIkranegara, Goenawan Mohammad and Suyatna Anirun failed to
\nattend, it was still regarded as a significant forum to push
\nahead theatrical activities in the country.<\/p>\n
The seven-day gathering, held in back-to-nature style at the
\nCibubur camping ground, East Jakarta, was colored by
\nboth enthusiasm and skepticism within the theater community.
\nDiscussions centered on how to create and produce high-quality
\nworks in the current era of political openness.<\/p>\n
Many artists, the younger ones in particular, still doubt
\nwhether they can perform their genuine creations since the
\nauthorities continue to ban their works.<\/p>\n
Radhar Panca Dahana, a prominent young dramatist, said
\ntheater, which is intricately tied to the working of the human
\nmind, reflects the realities in life. \"It is depressing that many
\ntheatrical shows in the country only caricature life,\" he said.<\/p>\n
He added that many theatrical groups are reluctant to stage
\npolitically-inspired dramas because they may be considered
\ndangerous by the government. This, he said, will severely hamper
\nthe creative process among theater people.<\/p>\n
Approaching the issue from a totally different angle,
\nMinister\/State Secretary Moerdiono, who was one of the meeting's
\nkeynote speakers, stressed that in general, the government has
\nnever intended to curb the creativity of the theater people and
\nother art activities.<\/p>\n
Sitting cross-legged under a tree, Moerdiono pointed out, \"Do
\nnot generalize this issue. Only a few theatrical and other
\ncultural performances were banned by the government. Most of the
\nworks (banned here) were usually staged in other cities.\"<\/p>\n
No bans<\/p>\n
In a meeting with local theater and art figures last year,
\nMoerdiono gave assured that there would be no more bans against
\ntheatrical and other art performances as long as they adhere to
\nthe state's Pancasila values. The performances should not deal
\nwith such controversial subjects as religion and race.<\/p>\n
However, early this year East Java authorities banned the work
\nof vocal playwright Emha Ainun Nadjib, Pak Kanjeng, which was
\noriginally to be staged at Gedung Pancasila stadium in Surabaya.
\nThe excuse offered was the situation in the city was not
\nconducive to such a performance.<\/p>\n
A spokesman for the Surabaya authorities explained that at the
\ntime the city was gripped by social unrest, making it hard for
\nthem to issue a permit for the staging of the play.<\/p>\n
The play satires what the author considered to be the numerous
\nhypocrisies inherent in the social and political systems.<\/p>\n
And only last month, Yogyakarta authorities banned the
\ncongenial reunion of two leading theater figures, W.S. Rendra and
\nEmha, in Bantul, Yogyakarta, for as yet unknown reasons.<\/p>\n
The bans, which drew protests from prominent scholars and
\nlegislators, are inconsistent with the government's drive for
\ngreater openness and freedom of expression among local artists as
\nstated by Moerdiono from time to time.<\/p>\n
Traditional<\/p>\n
In addition to this issue, the meeting also discussed the
\nmodern theater, theatrical management systems, and the
\ndevelopment of modern and traditional theaters.<\/p>\n
Saini K.M., an expert on Sundanese folk art, pointed out that
\ntraditional theater in West Java is now collapsing. In the l960s,
\na large number of theatrical forms still flourished in the
\nprovince.<\/p>\n
The Sundanese traditional theater takes shape in the form of
\nmusical and dance dramas exploring folk tales, myths and legends.
\nAmong these theatrical forms are reog, longser and sandiwara.<\/p>\n
\"Today, we can hardly find any reog or longser performances in
\nvillages or cities in West Java because only elderly players can
\nperform this kind of drama,\" Saini said.<\/p>\n
Saini went on to say that regeneration is a common problem
\nfaced by traditional theater groups across the country. Young
\npeople, he said, find such entertainment forms less amusing than
\nthose appearing on television, radio or movies. As a result, the
\naudience for the traditional theater is limited because of the
\ninevitable influence of technology in the entertainment world.<\/p>\n
Limited facilities and financial support were also blamed for
\nthe deterioration of these folk theaters.<\/p>\n
A. Kasim Akhmad, a drama lecturer at the Jakarta Arts
\nInstitute, said immediate action is needed to encourage
\ntraditional theater activities.<\/p>\n
Support from local government is also necessary, he said.
\nThe traditional theater groups, on the other hand, should
\nactively improve their management as well as their stories.
\nCombining traditional and modern elements can make a theater
\nproduction more appealing to the audience, he suggested.<\/p>\n
\"They should not simply stick to traditional styles,\" Akhmad
\nsaid. Many local dramatists are now extracting information and
\ndrawing inspiration from traditional theatrical elements
\nwithout disturbing the play's plot, he added.<\/p>\n
Innovative<\/p>\n
Noted scholar F.X. Sutopo meanwhile said a theater group
\nshould be innovative and create its own market and regular
\naudience if it hopes to survive.<\/p>\n
\"Many theater groups fail to arouse the interest of the public
\nbecause the content of the play cannot be easily understood,\" he
\nsaid.<\/p>\n
A play is the medium that channels the playwright's ideas to
\nthe audience through the dramatic events and dialog presented on
\nthe stage.<\/p>\n
\"Unless a performance communicates with and captivates the
\naudience, it will not be considered a success,\" he said.<\/p>\n
Another issue raised at the meeting is the gap between old and
\nyoung dramatists. Sutopo said that lack of communication among
\ntheatrical people, mostly between senior and junior directors or
\nartists, has already created a wide gap.<\/p>\n
Poet Leon Agusta shared Sutopo's view, saying that each party
\nalways defends its own concept of theater as the most acceptable
\ntheatrical genre.<\/p>\n
The senior group prefers to blend traditional and modern
\n(western) concepts in creating a theatrical work, while the
\nyounger generation chooses experimental dramas as an effective
\nmedium for their creative process.<\/p>\n
Sutopo said the difference in opinion between the older and
\nyounger artists is common in the art world. \"The important thing
\nis to forge cooperation that will lead to better theatrical
\nproductions so that the younger artists can learn from their
\nsenior colleagues,\" he said.<\/p>\n
Another dramatist urged senior artists to guide the younger
\ngroup without imposing their ideas on them.<\/p>\n
\"This is a significant forum that can bridge the gap. It may
\nalso encourage the theater world here,\" he said.<\/p>\n
Unfortunately, many participants were confused by the tight
\nschedule and the bulk of theatrical issues discussed at the
\nmeeting. The organizer also failed to provide a special forum to
\nformulate the results and the real objectives of the meeting,
\nleaving many questions unanswered.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/dramatists-discuss-the-future-of-their-profession-1447893297",
"image": ""
},
"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
}