Popular Teater Koma beats the odds by turning 20<\/p>\n
By A. Ariobimo Nusantara<\/p>\n
JAKARTA (JP): Theater groups which mark 20 years in existence,
\nas Teater Koma is doing this year, are a rarity in Indonesia.<\/p>\n
The odds are always stacked against their survival. Local
\ntheatergoers are few in number, actors cannot live on their
\nperformance earnings alone and it is hard to reach the break-even
\npoint, let alone make a profit, from productions.<\/p>\n
Matters are not helped by the bureaucratic maze in obtaining
\nperformance permits, taking time, energy and money.<\/p>\n
Teater Koma, one of the most popular theater groups in
\nIndonesia, is no exception in facing this vicious circle. Apart
\nfrom its deserved fame for its performances, it is also notorious
\nas the theater group most frequently banned by the authorities.<\/p>\n
This has never eroded the spirit of the group led by Nano
\nRiantiarno and his wife Ratna. For Nano, the name "Koma" has
\nphilosophical connotations.<\/p>\n
"Koma represents continuous explorative endeavors," he said.
\n"It is an endless search for innovative forms. It is the symbol
\nof trepidation to yield works incessantly. It reflects creativity
\nand hard work which never stops."<\/p>\n
That is Nano's philosophy in the arts, and one which has
\nsustained him through thick and thin.<\/p>\n
When critics derided one of his works, he was busy with his
\ngroup discussing the next production. When the public turned
\nagainst a production, he quickly launched a new one. Even when
\nthe authorities banned his works, he used the experience as a
\ntheme for his next play.<\/p>\n
Teater Koma's resume reached 80 productions in the middle of
\nthis year, including performances in the theater, on television
\nand in hotels. Seats for the wildly successful restaging of
\nSampek Engtay in June, its 80th production, and it was standing
\nroom only for the 12 days of shows. Teater Koma is unique in that
\nit does not attract die-hard theater fans only, but has also
\nsucceeded in bringing in people who have never seen a play
\nbefore.<\/p>\n
Playwright Ratna Sarumpaet is not exaggerating when she calls
\nNano Riantiarno a fighter for the appreciation of Indonesian
\ntheater.<\/p>\n
"When others are declining, he continues to produce theater
\nworks with all the risks involved. He has the great merit of
\nintroducing people to the theater. No doubt, he feels close to
\nand cares about the public," said Sarumpaet, who is the leader
\nand director of theater group Satu Merah Panggung.<\/p>\n
Why is Teater Koma so popular with the public?<\/p>\n
Sociologist Arief Budiman once observed that Teater Koma
\ntackles grave subjects but within an entertaining, irreverent
\nproduction. These include Opera Ikan Asin (literally the "Salted
\nFish Opera" which was an adaptation of Bertolt Brecht's
\nThreepenny Opera), and Suksesi (Succession) or Konglomerat
\nBurisrawa (Burisrawa Tycoons), a play written by Nano which is
\nfull of sociopolitical jibes conveyed through humor, leaving the
\naudience doubled up in laughter.<\/p>\n
Pastojak 97<\/p>\n
Teater Koma is celebrating its 20th anniversary by organizing
\na performing arts market in Jakarta called Pasar Tontonan Jakarta
\n1997 (Pastojak 97) this entire month at the Jakarta Arts Center
\nin Taman Ismail Marzuki.<\/p>\n
Acting as the coordinator of all the performances of 24
\ngroups, both domestic and foreign, Teater Koma will restage
\nSampek Engtay for four days on Aug. 19 to Aug. 22. The re-staging
\nis by popular demand, mainly from those who missed the group's
\nperformances last June.<\/p>\n
Many observers believe the adaptation of the classic Chinese
\nlove story is one of Teater Koma's best works. Nano has moved the
\nevents to the Banten and Betawi (Jakarta) areas. The essence of
\nthe story remains the same, but some additions have been made.<\/p>\n
In Teater Koma's version, Engtay is a girl born in Banten but
\nliving in Serang, both towns in West Java, while Sampek hails
\nfrom Pandeglang, also in West Java. The music is a mixture of
\nChinese, Sundanese, Betawi music and contemporary sounds.<\/p>\n
Teater Koma is also planning to present Opera Ikan Asin but in
\na new interpretation. While Harry Roesli was formerly entrusted
\nwith the music, Idrus Madani will now be in charge. The play will
\nbe performed next November.<\/p>\n
Building<\/p>\n
Another feature of the group's 20th anniversary is the
\npresentation of the book Teater Koma: Potret Tragedi dan Komedi
\nManusia (Indonesia) (Teater Koma: A Portrait of Human Tragedy and
\nComedy) by Herry Gendut Janarto.<\/p>\n
"Actually this book is an album of souvenirs containing all
\nthe activities of Mas Nano's theater group members as a big
\nfamily," Herry writes in the preface. "In this book, however, I
\nfeel the need to include childhood and adolescence stories of
\nNano and Ratna, in order to describe their background to the
\nreaders."<\/p>\n
As a diligent observer, Herry has recorded all Teater Koma's
\nactivities since 1977. These records constitute abundant
\nmaterials brought together under one cover. But Herry does not
\nclaim to be an expert or a historian of Teater Koma, merely
\nplacing himself as its "recorder".<\/p>\n
A surprising thing in the book is Teater Koma's desire to have
\nits own performance hall. This is perhaps the result of Nano's
\nstudy of theater history as he is acquainted with the good
\nmanagement of Broadway, the regular audience attendance at West
\nEnd, and the fact that most Japanese theater groups have their
\nown buildings. He must have also been intrigued to read that a
\nFrench theater group with a 70-seat capacity venue managed to
\nstage Eugene Ionesco's The Chair for more 20 years.<\/p>\n
As for Indonesia, it has the traditions of the groups
\nDardanella, Miss Ribut's Orion, Srimulat, Wayang Orang Bharata
\nand Miss Cicih, which were capable of providing a livelihood for
\ntheir members.<\/p>\n
Nano's obsession is for a venue with 100 seats.<\/p>\n
He has worked out the intricate details. There will be a
\nbalcony, and the stage is equipped with a sophisticated sound
\nsystem and modern lighting. Its architecture would meet the
\nrequirements of a very intimate performance hall, where the
\naudience can recognize the players and the players can chat with
\nthe public. A housing complex will be built for cast and crew
\nwho have no home or are single.<\/p>\n
"We would perform a particular repertory production
\ncontinuously until the number of spectators dwindles to a low
\npoint," Nano said dreamily of his plans. "Then we would take a
\nbreak and hold repeat performances. In an off season, our hall
\ncan be used by other groups."<\/p>\n
Teater Koma plans to run the theater by inviting the public to
\nbecome permanent members. If the theater's circle of members
\ntotals 1,000, the number of performances will be 10 too. For
\n1,500 members, there would be 15 nights of performances, with the
\nfrequency of performances determined on the basis of the number
\nof permanent members in a given year.<\/p>\n
The most attractive aspect of the dream is that audience
\nmembers and cast would get together for a meet-and-greet session
\nafter each performance. Whether his dream is realized sooner or
\nlater, Nano's perseverance and attention to detail will continue
\nto be his unflagging trademark.<\/p>",
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