Play puts gender issues back in the spotlight<\/p>\n
Agung Asmara, Contributor, Denpasar, Bali<\/p>\n
Women and theaters are a common combination in Bali. From
\ntraditional to contemporary forms of theaters, Balinese women
\nhave been playing crucial roles.<\/p>\n
In the contemporary theater world, for instance, names such as
\nCok Sawitri, Oka Rusmini and Ayu Komang Suniastiti are celebrated
\nas talented figures.<\/p>\n
The recent performance of Komunitas Teater Perempuan
\nYogyakarta, the Yogyakarta Female Theater Community, drew quite a
\nlarge audience from Balinese theater lovers who wanted to watch a
\ndifferent genre of theater.<\/p>\n
Performed at the Indonesian Arts Institute (STSI) campus in
\nDenpasar, the theater director Yudiaryani claimed she had put \"a
\nfeminine style of theater\" on the stage.<\/p>\n
Through Perempuan-Perempuan Nagari, or The Women of Nagari
\n(which is a fictional country), an adaptation of Beatrix
\nChristian's work, Yudiaryani intended to expose the dominance of
\na female protagonist through the character of Awa.<\/p>\n
The story of Awa is about a rural woman who is trying her luck
\nin the city. Portrayed as a pretty, charming and sometimes
\naggressive young girl, Awa goes to the city with her boyfriend
\nLilo. Although she's a country girl, Awa is not a conventional
\none, particularly in sexual matters. Awa really takes charge of
\nany sexual activities between her and her partners such as the
\ndecisions of when or where they should have sex.<\/p>\n
Arriving at the glittering city with its hustle and bustle of
\nlife, the attractive Awa finds it easy to meet several nice guys,
\nincluding a children's story writer called Awu. She had long
\nsince dumped poor Lilo. With her cute teenager's appeal, Awa
\nfinally succeeds in winning the heart of the strange and awkward
\nAwu, who is actually the ruler of Nagari.<\/p>\n
Gradually, Awa becomes the central character of Awu's
\nchildren's stories, and at the same time becomes more powerful in
\nthe fictional nation. Seemingly having much in common, Awu and
\nAwa decide to tie the matrimonial knot. Awu had previously been
\nmarried to three women, each of whom he killed. In the wedding
\nceremony, Awa is haunted by the spirits of her husband's late
\nwives. The ghosts have clearly given a premonition of death to
\nthe new bride.<\/p>\n
Awa soon realizes Awu is not as good as she had thought. Awu
\ndoes not need either an assistant or a wife. Her husband needs
\nonly a killing target to support his ego and to maintain his
\npower.<\/p>\n
Before her husband succeeds in killing her, Awa kills him and
\ntakes over his power in Nagari. For a woman like Awa, to reach
\nthe power, she has to kill both her husband and her inner
\nfeelings.<\/p>\n
\"I am still in love with him... deeply in love,\" Awa
\nweeps while she is already in power.<\/p>\n
In Perempuan Perempuan Nagari, the director tried in vain to
\npromote gender issues but the audience viewed it the other way
\naround. The director's portrayal of Awa doesn't fit with her main
\ntheme. Awa is neither a strong-willed woman nor a powerful one.<\/p>\n
Most players in the play, unfortunately did not act up to
\ntheir potential. Their interpretation of the plot of the story as
\nwell as the screenplay seemed weak.<\/p>\n
However, the director succeeded in creating artistic elements
\nin each of the scenes.<\/p>\n
In Balinese literature, the story of a woman defeating a
\npowerful man is also found in Tantri stories (similar to Arabian
\nNights 1001 tales).<\/p>\n
The Tantri story reveals a naive woman, Ni Dyah Tantri, who
\nbecomes the muse of the bad-tempered king of Patali, Prabu
\nEswaryadala. The king is said to have a very bad habit. Although
\nhe has already been married to hundreds or maybe thousands of
\nteenagers, he always asks his subordinates to present him with
\nthe most beautiful virgins.<\/p>\n
One day, he is presented the smart and beautiful Ni Dyah
\nTantri. Each night, Dyah Tantri would tell the king one of her
\nstories, which were rich in moral teachings, of what is good and
\nbad.<\/p>\n
Through the stories, Dyah Tantri deeply penetrates into the
\nheart and mind of the greedy and vicious king. In the end, Dyah
\nTantri is able to gradually change the king's behavior and even
\nto control his emotions.<\/p>\n
As compared to the character of Awa in Perempuan-Perempuan
\nNagari, Dyah Tantri is a typical Eastern woman who is, in a very
\nsubtle way, controlling the intangible world of her husband.
\nMeanwhile, Awa, a product of female conception in the Western
\nworld conquers physically the domineering world of men.<\/p>\n
Both traditional and modern as well as eastern or western
\nconcepts of women in both stories could become a good step in the
\npromotion of women's roles.<\/p>",
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