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.