Dramatists discuss the future of their profession

Dramatists discuss the future of their profession

By Rita A. Widiadana

JAKARTA (JP): Do Indonesian theaters still exist and are they
effectively voicing the aspirations of society?

This difficult question became the main topic of a national
meeting on theater last month.

Organized by the Association of Indonesian Theaters,
the meeting, the 10th of its kind since l969, involved dozens of
scholars, stage directors, art critics, government officials and
theater groups from Indonesia's 27 provinces. The previous
meeting was held in Surakarta, Central Java, last July.

Although prominent Indonesian dramatists and scholars such as
W.S. Rendra, Putu Wijaya, Emha Ainun Nadjib, Teguh Karya,
Ikranegara, Goenawan Mohammad and Suyatna Anirun failed to
attend, it was still regarded as a significant forum to push
ahead theatrical activities in the country.

The seven-day gathering, held in back-to-nature style at the
Cibubur camping ground, East Jakarta, was colored by
both enthusiasm and skepticism within the theater community.
Discussions centered on how to create and produce high-quality
works in the current era of political openness.

Many artists, the younger ones in particular, still doubt
whether they can perform their genuine creations since the
authorities continue to ban their works.

Radhar Panca Dahana, a prominent young dramatist, said
theater, which is intricately tied to the working of the human
mind, reflects the realities in life. "It is depressing that many
theatrical shows in the country only caricature life," he said.

He added that many theatrical groups are reluctant to stage
politically-inspired dramas because they may be considered
dangerous by the government. This, he said, will severely hamper
the creative process among theater people.

Approaching the issue from a totally different angle,
Minister/State Secretary Moerdiono, who was one of the meeting's
keynote speakers, stressed that in general, the government has
never intended to curb the creativity of the theater people and
other art activities.

Sitting cross-legged under a tree, Moerdiono pointed out, "Do
not generalize this issue. Only a few theatrical and other
cultural performances were banned by the government. Most of the
works (banned here) were usually staged in other cities."

No bans

In a meeting with local theater and art figures last year,
Moerdiono gave assured that there would be no more bans against
theatrical and other art performances as long as they adhere to
the state's Pancasila values. The performances should not deal
with such controversial subjects as religion and race.

However, early this year East Java authorities banned the work
of vocal playwright Emha Ainun Nadjib, Pak Kanjeng, which was
originally to be staged at Gedung Pancasila stadium in Surabaya.
The excuse offered was the situation in the city was not
conducive to such a performance.

A spokesman for the Surabaya authorities explained that at the
time the city was gripped by social unrest, making it hard for
them to issue a permit for the staging of the play.

The play satires what the author considered to be the numerous
hypocrisies inherent in the social and political systems.

And only last month, Yogyakarta authorities banned the
congenial reunion of two leading theater figures, W.S. Rendra and
Emha, in Bantul, Yogyakarta, for as yet unknown reasons.

The bans, which drew protests from prominent scholars and
legislators, are inconsistent with the government's drive for
greater openness and freedom of expression among local artists as
stated by Moerdiono from time to time.

Traditional

In addition to this issue, the meeting also discussed the
modern theater, theatrical management systems, and the
development of modern and traditional theaters.

Saini K.M., an expert on Sundanese folk art, pointed out that
traditional theater in West Java is now collapsing. In the l960s,
a large number of theatrical forms still flourished in the
province.

The Sundanese traditional theater takes shape in the form of
musical and dance dramas exploring folk tales, myths and legends.
Among these theatrical forms are reog, longser and sandiwara.

"Today, we can hardly find any reog or longser performances in
villages or cities in West Java because only elderly players can
perform this kind of drama," Saini said.

Saini went on to say that regeneration is a common problem
faced by traditional theater groups across the country. Young
people, he said, find such entertainment forms less amusing than
those appearing on television, radio or movies. As a result, the
audience for the traditional theater is limited because of the
inevitable influence of technology in the entertainment world.

Limited facilities and financial support were also blamed for
the deterioration of these folk theaters.

A. Kasim Akhmad, a drama lecturer at the Jakarta Arts
Institute, said immediate action is needed to encourage
traditional theater activities.

Support from local government is also necessary, he said.
The traditional theater groups, on the other hand, should
actively improve their management as well as their stories.
Combining traditional and modern elements can make a theater
production more appealing to the audience, he suggested.

"They should not simply stick to traditional styles," Akhmad
said. Many local dramatists are now extracting information and
drawing inspiration from traditional theatrical elements
without disturbing the play's plot, he added.

Innovative

Noted scholar F.X. Sutopo meanwhile said a theater group
should be innovative and create its own market and regular
audience if it hopes to survive.

"Many theater groups fail to arouse the interest of the public
because the content of the play cannot be easily understood," he
said.

A play is the medium that channels the playwright's ideas to
the audience through the dramatic events and dialog presented on
the stage.

"Unless a performance communicates with and captivates the
audience, it will not be considered a success," he said.

Another issue raised at the meeting is the gap between old and
young dramatists. Sutopo said that lack of communication among
theatrical people, mostly between senior and junior directors or
artists, has already created a wide gap.

Poet Leon Agusta shared Sutopo's view, saying that each party
always defends its own concept of theater as the most acceptable
theatrical genre.

The senior group prefers to blend traditional and modern
(western) concepts in creating a theatrical work, while the
younger generation chooses experimental dramas as an effective
medium for their creative process.

Sutopo said the difference in opinion between the older and
younger artists is common in the art world. "The important thing
is to forge cooperation that will lead to better theatrical
productions so that the younger artists can learn from their
senior colleagues," he said.

Another dramatist urged senior artists to guide the younger
group without imposing their ideas on them.

"This is a significant forum that can bridge the gap. It may
also encourage the theater world here," he said.

Unfortunately, many participants were confused by the tight
schedule and the bulk of theatrical issues discussed at the
meeting. The organizer also failed to provide a special forum to
formulate the results and the real objectives of the meeting,
leaving many questions unanswered.