Indonesian theater in poor condition: Riantiarno

Indonesian theater in poor condition: Riantiarno

By Rita A. Widiadana

JAKARTA (JP): Indonesian theater needs rich people with crazy ideas to support its activities, said director and playwright Nano Riantiarno of Teater Koma.

At present, the condition of local theater is very discouraging, he said. Being in the theater is not a promising career. In reality, a theater group in Indonesia still needs financial assistance from the government or other institutions, he said.

"It is really tiring. Actually, as artists we should ignore such impairments and continue with our creativity. But who can be creative under such a condition?" Nano asked.

Nano, who is presently staging his latest production Semar Gugat, said many people asked him why he insisted on producing his newest play despite bannings and censorship.

The story of Semar Gugat, he said, is relevant to the journey of Teater Koma in the Indonesian theater world.

He was born in Cirebon, West Java on June 6th, l949, with his twin brother dying at 21 days of age. Nano became involved in the theater in l965 in his hometown. After graduating from senior high school, Nano traveled to Jakarta and enrolled in the National Theater Academy of Indonesia. Together with Teguh Karya, he founded Teater Populer in l968. He married fellow artist, Ratna Madjid. The couple have three teenage sons.

In l977, he established Teater Koma which has performed more than 80 productions (stage performances and television dramas). A number of his important plays (adaptations and original works) are Maaf, Maaf, Maaf (Sorry, Sorry, Sorry), Time Bomb, Opera Ikan Asin (Salt Fish Opera), the three-penny Opera (adapted from Bertold Brecht), The Comedy of Errors by Shakespeare, Opera Kecoa, (Cockroach Opera) Wanita Wanita Parlemen, (Women in Parliament) by Aristophanes, The Good Person of Szechwan by Bertold Brect, Tenung, the Crucibles by Arthur Miller, Succession, OKB, the New Richman by Moliere, Sampek Engtay, Rumah Sakit Jiwa (Mental Hospital) and White Snake Legend.

Nano's journey into the world of art and theater has not been smooth. Teater Koma has experienced a number of setbacks. Sampek Engtay (l989) was banned in Medan. Succession and Opera Kecoa were banned in Jakarta. As a result, Teater Koma's four city tour to Japan to perform Opera Kecoa was also canceled by the Indonesian government in l991. But Opera Kecoa was finally performed by the prestigious performing troupe Belvoir Theater in Sydney, Australia, in July to August l992.

Nano also takes his artistic talents to the film world. His screenplay Jakarta Jakarta received the Citra Award at the Indonesian Film Festival in l978. Karina, a television drama, won the Vidia Award at the Indonesian Film Festival in l987. He won prizes for the annual stage playwriting contest organized by the Jakarta Art Council in the years 1972 to 1975. He also won a children's playwriting contest held by the Ministry of Education and Culture in l978. Two of his novels, Baby's Cradle and Love at Dusk, won prizes in a novel contest. In l993, he received the National Art and Culture Award from the Indonesian government.

His latest film is the 35mm movie Cemeng 2005, the Last Primadona. The film was produced by the National Film Council of Indonesia.

Illegitimate

When asked about the condition of the local theater, Nano said Indonesian contemporary theater has always been regarded as an "illegitimate child" in the country's development process. The government and other parties have been continuously suspicious about its activities, Nano said.

"In my opinion, a theater group has never thought of making any political criticism. Theater people are not politicians and a theater is not a political party," Nano said.

But a theater, he said, realistically portrays the political and social condition of a country. Theatrical works can become clear reflections of a society. But many people, officials in particular, feel that such works endanger the nation's stability. For the sake of society and national stability, these officials abuse their power and prevent theater groups from performing their interpretations of social issues.

A theater group can never forget its function as a social critic. Theaters can manifest in various forms but their social functions remain the same. They keep portraying the dynamics of a society including the political, religious and psychological aspects.

Nano said he chose theater as the medium for his artistic expression because theater is like a deep ocean. It offers wide opportunities to explore, to imagine its content.

"I feel very happy when playing in a theater. We can share our sadness, happiness and curiosity with other members of the group as well as the audience," he said.

When asked whether the various bannings and restrictions have influenced Teater Koma's works, Nano explained that they have had an impact on certain aspects of his group.

Finance for one. The bannings have discouraged many parties from sponsoring their performances.

"Up to the present, we still face difficulties in funding our activities. Most companies only want to sponsor us if we have already obtained permits for a show. It is saddening because we often get permits only a minute before we stage plays. For Semar Gugat, I got the permit a day before the performance," Nano said.

He added that many companies are adverse to financing the group's performances because they identify Teater Koma with bannings. These companies will not risk their money for us, he said.

"Their behavior affects both Teater Koma and the local theater world in general," said Nano, who is currently editor-in-chief of Matra lifestyle monthly magazine.

Most artists are in the theater as part-timers. The support themselves by having main jobs outside the theater. They rehearse in the theater at nights.

Nano said the condition has discouraged people from joining theater groups, and because of this many groups lack committed performers. Previously faithful audiences are starting to drift away. The bannings and censorship for vague reasons and suspicious interrogations do not help.

Nano tries hard to keep his colleagues in high spirit. Currently, Teater Koma has 100 members in which 40 are active members.

"They come and go. I don't want to set any strict regulations on the group. Any member can have other activities. However, we have strong a relationship," Nano said.

Among the group's members are popular actor Didi Petet, who is currently busy with television drama, and Salim Bungsu. The late Tarida Gloria was a member.

In Teater Koma, performers are encouraged to utilize their talents to their maximum.

Nano derives his theatrical concept from folk and traditional theaters such as Dardanella and Bintang Soerabaya, both of which collapsed before World War II.

"I try to blend five elements: acting, dancing, singing, music and humor in my theater but I leave out casting 'stars' like those in Dardanella or other traditional theater groups," Nano explains.

Nano also makes use of folk art in his theater works, which he considers an intimate approach to an audience. Nano exploits the styles of traditional drama such as ludruk from East Java, masres from Cirebon in West Java, ketoprak from Central Java, and lenong from the Betawi (Indigenous Jakartans).

These forms of traditional drama have allowed performers to improvise, to express their acting talents in a free way because the group rarely uses scripts.

Teater Koma's performances have similar characteristics to those of traditional drama.

Nano said that Teater Koma strives to entertain its audience. "I will be very happy if Teater Koma's shows can entertain and stimulate the minds of the audience.

"For me, entertainment is a joint ceremony to share our experiences, our inner feelings. Under such a condition, a production reveals so many things -- questions, resolutions and enlightenment.

"Plays by Teater Koma are actually based on good intention. Therefore it is irrelevant that the authorities are still distrustful and ban our works," Nano said.