Suyatna: An eternal spring of knowledge<\/p>\n
Aendra H. Medita, Contributor, Jakarta<\/p>\n
In a quiet and humble way, when Suyatna Anirun passed on, he
\nleft behind him a legacy rich with glorious oeuvres for
\nIndonesia's modern theater.<\/p>\n
In the early hours of Jan. 4, the 65-year-old artist died at
\nBorromeus hospital in his hometown of Bandung after a long
\nstruggle with pancreatic cancer and diabetes. \"He died in great
\nsincerity and peacefulness,\" said his wife, Yati Sugiati.<\/p>\n
While not as popular as other great Indonesian dramatists like
\nTeguh Karya, who died in December, the late Arifin C. Noer or
\nRendra, he was considered consistent with the modern theatrical
\npath he had chosen. Until the end of his life, he devoted himself
\nto the world of theater and drama.<\/p>\n
His role as Shakespeare's King Lear in 1996-1997, along with
\nhis direction of the famous play, garnered widespread praise. But
\nhe was not only an extraordinary actor, but was also one of the
\noriginal pioneers of modern theater in Indonesia.<\/p>\n
In 1958, along with Jim Lim, Adrin Kahar, Gigo Budisatiaraksa,
\nSutardjo A. Wiramihardja, Tin Srikartini and Suharmono
\nTjitrosoewarno, he set up Studiklub Teater Bandung (Bandung
\nTheatrical Study Club)\/STB, Indonesia's first modern theatrical
\ngroup, now still active in the country's performing arts scene.<\/p>\n
It's no exaggeration to add that, throughout his life, Suyatna
\nwas known as wise and dignified.<\/p>\n
He fell in love with the theater as a student in the fine arts
\ndepartment of the Bandung Institute of Technology (ITB) in 1955.
\nYet he became fully developed as a dramatist following the
\nestablishment of his STB.<\/p>\n
While he shifted from working in the fine arts to working in
\ntheater, his deep knowledge of fine arts remained helpful in
\nshaping his artistic concepts, particularly in presenting details
\nof stage arrangement in his dramatic performances.<\/p>\n
After the departure of Jim Lim, who emigrated to Paris in
\n1960s (and is still a theatrical actor to this day), Suyatna was
\nnever lax in his seriousness towards theater.<\/p>\n
He directed the performances of modern foreign and Indonesian
\nplays including the works of Anton Chekhov, George Bernard Shaw,
\nTennessee Williams, Nikolai Gogol, Bertold Brecht, Moliere,
\nShakespeare, Goethe, WB Yeats, Ionesco, Saini KM and Ayip Rosidi.<\/p>\n
Suyatna wisely and philosophically believed that the theater
\nwas not the subject of discussion, but that rather a venue for
\nacting. That's why he did not talk much about drama. Instead, he
\npreferred to make dramatic performances part of his life.<\/p>\n
\"The theater is part of my life,\" Suyatna, who was born on
\nJuly 20, told The Jakarta Post when he was interviewed for the
\nwriting of Buku 100 Seniman Indonesia (Book of 100 Indonesian
\nArtists)<\/p>\n
He loved the theater dearly. So much so that, a few days
\nbefore his death, he told his wife that STB could die, but not
\nthe theater.<\/p>\n
Indeed, STB is always associated with its founder, Suyatna
\nAnirun, in the same way Teater Kecil is associated with Arifin C.
\nNoer and Teater Populer with Teguh Karya.<\/p>\n
To the theatrical world, Suyatna was like an eternal fountain.
\nHe showed his seriousness not only in dramatic performances, but
\nalso in introducing ideas for the development of Indonesia's
\nmodern theater.<\/p>\n
In his lifetime, he had several books to his credit. His deep
\ninvolvement with the theater and his ideas are found in his
\nwritings such as Mulai (Beginning), Bagi Masa Depan Teater (For
\nthe Future of the Theater), Teater untuk Dilakoni (Theater is for
\nActing) and Menjadi Aktor (Becoming an Actor).<\/p>\n
Apart from being a dramatist, Suyatna was also a poet. His
\npoems are collected in Puisi Putih (White Poems), published in
\n2001. Winner of the 1993 Art Award from the government, he was
\nknown as a fine journalist and was the culture editor for
\nBandung-based Pikiran Rakyat daily.<\/p>\n
Suyatna was also active in formal education. He was one of the
\nfounders of the theatrical department of ASTI, now the Indonesian
\nArt Higher-Learning School (STSI) in Bandung. For some time, he
\nwas a lecturer in the theatrical department of the Jakarta
\nInstitute of Art (IKJ). He helped bring out young actors,
\ndirectors, writers and journalists.<\/p>\n
\"He was like an eternal spring,\" said Sunjaya, a dramatic
\nactor and one of his colleagues in theatrical activities.<\/p>\n
Noted poet and dramatist Rendra once recalled when was first
\ndrawn to theater, he was absorbed in STB and that he often
\nwatched the club's rehearsals led by Suyatna and Jim Lim.<\/p>\n
\"I began to be interested in the theater because I often
\nwatched STB rehearsals under Suyatna,\" Rendra told the Post.<\/p>\n
A low-profile person, Suyatna was always consistent with his
\ncareer choice. He was offered to join film making, but his heart
\nand mind went with the theater. \"Let me remain in the theater --
\nfilm making is for younger people,\" he said modestly.<\/p>\n
His dedication to the world of drama will forever be engraved
\nin the heart of the country's modern theater, thanks to his great
\ncontribution to its development. He will always be remembered,
\nalong with his STB, as one of the people who set the stage for
\nIndonesia's modern theater. Farewell.<\/p>",
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