Play puts gender issues back in the spotlight

Play puts gender issues back in the spotlight

Agung Asmara, Contributor, Denpasar, Bali

Women and theaters are a common combination in Bali. From
traditional to contemporary forms of theaters, Balinese women
have been playing crucial roles.

In the contemporary theater world, for instance, names such as
Cok Sawitri, Oka Rusmini and Ayu Komang Suniastiti are celebrated
as talented figures.

The recent performance of Komunitas Teater Perempuan
Yogyakarta, the Yogyakarta Female Theater Community, drew quite a
large audience from Balinese theater lovers who wanted to watch a
different genre of theater.

Performed at the Indonesian Arts Institute (STSI) campus in
Denpasar, the theater director Yudiaryani claimed she had put "a
feminine style of theater" on the stage.

Through Perempuan-Perempuan Nagari, or The Women of Nagari
(which is a fictional country), an adaptation of Beatrix
Christian's work, Yudiaryani intended to expose the dominance of
a female protagonist through the character of Awa.

The story of Awa is about a rural woman who is trying her luck
in the city. Portrayed as a pretty, charming and sometimes
aggressive young girl, Awa goes to the city with her boyfriend
Lilo. Although she's a country girl, Awa is not a conventional
one, particularly in sexual matters. Awa really takes charge of
any sexual activities between her and her partners such as the
decisions of when or where they should have sex.

Arriving at the glittering city with its hustle and bustle of
life, the attractive Awa finds it easy to meet several nice guys,
including a children's story writer called Awu. She had long
since dumped poor Lilo. With her cute teenager's appeal, Awa
finally succeeds in winning the heart of the strange and awkward
Awu, who is actually the ruler of Nagari.

Gradually, Awa becomes the central character of Awu's
children's stories, and at the same time becomes more powerful in
the fictional nation. Seemingly having much in common, Awu and
Awa decide to tie the matrimonial knot. Awu had previously been
married to three women, each of whom he killed. In the wedding
ceremony, Awa is haunted by the spirits of her husband's late
wives. The ghosts have clearly given a premonition of death to
the new bride.

Awa soon realizes Awu is not as good as she had thought. Awu
does not need either an assistant or a wife. Her husband needs
only a killing target to support his ego and to maintain his
power.

Before her husband succeeds in killing her, Awa kills him and
takes over his power in Nagari. For a woman like Awa, to reach
the power, she has to kill both her husband and her inner
feelings.

"I am still in love with him... deeply in love," Awa
weeps while she is already in power.

In Perempuan Perempuan Nagari, the director tried in vain to
promote gender issues but the audience viewed it the other way
around. The director's portrayal of Awa doesn't fit with her main
theme. Awa is neither a strong-willed woman nor a powerful one.

Most players in the play, unfortunately did not act up to
their potential. Their interpretation of the plot of the story as
well as the screenplay seemed weak.

However, the director succeeded in creating artistic elements
in each of the scenes.

In Balinese literature, the story of a woman defeating a
powerful man is also found in Tantri stories (similar to Arabian
Nights 1001 tales).

The Tantri story reveals a naive woman, Ni Dyah Tantri, who
becomes the muse of the bad-tempered king of Patali, Prabu
Eswaryadala. The king is said to have a very bad habit. Although
he has already been married to hundreds or maybe thousands of
teenagers, he always asks his subordinates to present him with
the most beautiful virgins.

One day, he is presented the smart and beautiful Ni Dyah
Tantri. Each night, Dyah Tantri would tell the king one of her
stories, which were rich in moral teachings, of what is good and
bad.

Through the stories, Dyah Tantri deeply penetrates into the
heart and mind of the greedy and vicious king. In the end, Dyah
Tantri is able to gradually change the king's behavior and even
to control his emotions.

As compared to the character of Awa in Perempuan-Perempuan
Nagari, Dyah Tantri is a typical Eastern woman who is, in a very
subtle way, controlling the intangible world of her husband.
Meanwhile, Awa, a product of female conception in the Western
world conquers physically the domineering world of men.

Both traditional and modern as well as eastern or western
concepts of women in both stories could become a good step in the
promotion of women's roles.