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.