Popular Teater Koma beats the odds by turning 20

Popular Teater Koma beats the odds by turning 20

By A. Ariobimo Nusantara

JAKARTA (JP): Theater groups which mark 20 years in existence,
as Teater Koma is doing this year, are a rarity in Indonesia.

The odds are always stacked against their survival. Local
theatergoers are few in number, actors cannot live on their
performance earnings alone and it is hard to reach the break-even
point, let alone make a profit, from productions.

Matters are not helped by the bureaucratic maze in obtaining
performance permits, taking time, energy and money.

Teater Koma, one of the most popular theater groups in
Indonesia, is no exception in facing this vicious circle. Apart
from its deserved fame for its performances, it is also notorious
as the theater group most frequently banned by the authorities.

This has never eroded the spirit of the group led by Nano
Riantiarno and his wife Ratna. For Nano, the name "Koma" has
philosophical connotations.

"Koma represents continuous explorative endeavors," he said.
"It is an endless search for innovative forms. It is the symbol
of trepidation to yield works incessantly. It reflects creativity
and hard work which never stops."

That is Nano's philosophy in the arts, and one which has
sustained him through thick and thin.

When critics derided one of his works, he was busy with his
group discussing the next production. When the public turned
against a production, he quickly launched a new one. Even when
the authorities banned his works, he used the experience as a
theme for his next play.

Teater Koma's resume reached 80 productions in the middle of
this year, including performances in the theater, on television
and in hotels. Seats for the wildly successful restaging of
Sampek Engtay in June, its 80th production, and it was standing
room only for the 12 days of shows. Teater Koma is unique in that
it does not attract die-hard theater fans only, but has also
succeeded in bringing in people who have never seen a play
before.

Playwright Ratna Sarumpaet is not exaggerating when she calls
Nano Riantiarno a fighter for the appreciation of Indonesian
theater.

"When others are declining, he continues to produce theater
works with all the risks involved. He has the great merit of
introducing people to the theater. No doubt, he feels close to
and cares about the public," said Sarumpaet, who is the leader
and director of theater group Satu Merah Panggung.

Why is Teater Koma so popular with the public?

Sociologist Arief Budiman once observed that Teater Koma
tackles grave subjects but within an entertaining, irreverent
production. These include Opera Ikan Asin (literally the "Salted
Fish Opera" which was an adaptation of Bertolt Brecht's
Threepenny Opera), and Suksesi (Succession) or Konglomerat
Burisrawa (Burisrawa Tycoons), a play written by Nano which is
full of sociopolitical jibes conveyed through humor, leaving the
audience doubled up in laughter.

Pastojak 97

Teater Koma is celebrating its 20th anniversary by organizing
a performing arts market in Jakarta called Pasar Tontonan Jakarta
1997 (Pastojak 97) this entire month at the Jakarta Arts Center
in Taman Ismail Marzuki.

Acting as the coordinator of all the performances of 24
groups, both domestic and foreign, Teater Koma will restage
Sampek Engtay for four days on Aug. 19 to Aug. 22. The re-staging
is by popular demand, mainly from those who missed the group's
performances last June.

Many observers believe the adaptation of the classic Chinese
love story is one of Teater Koma's best works. Nano has moved the
events to the Banten and Betawi (Jakarta) areas. The essence of
the story remains the same, but some additions have been made.

In Teater Koma's version, Engtay is a girl born in Banten but
living in Serang, both towns in West Java, while Sampek hails
from Pandeglang, also in West Java. The music is a mixture of
Chinese, Sundanese, Betawi music and contemporary sounds.

Teater Koma is also planning to present Opera Ikan Asin but in
a new interpretation. While Harry Roesli was formerly entrusted
with the music, Idrus Madani will now be in charge. The play will
be performed next November.

Building

Another feature of the group's 20th anniversary is the
presentation of the book Teater Koma: Potret Tragedi dan Komedi
Manusia (Indonesia) (Teater Koma: A Portrait of Human Tragedy and
Comedy) by Herry Gendut Janarto.

"Actually this book is an album of souvenirs containing all
the activities of Mas Nano's theater group members as a big
family," Herry writes in the preface. "In this book, however, I
feel the need to include childhood and adolescence stories of
Nano and Ratna, in order to describe their background to the
readers."

As a diligent observer, Herry has recorded all Teater Koma's
activities since 1977. These records constitute abundant
materials brought together under one cover. But Herry does not
claim to be an expert or a historian of Teater Koma, merely
placing himself as its "recorder".

A surprising thing in the book is Teater Koma's desire to have
its own performance hall. This is perhaps the result of Nano's
study of theater history as he is acquainted with the good
management of Broadway, the regular audience attendance at West
End, and the fact that most Japanese theater groups have their
own buildings. He must have also been intrigued to read that a
French theater group with a 70-seat capacity venue managed to
stage Eugene Ionesco's The Chair for more 20 years.

As for Indonesia, it has the traditions of the groups
Dardanella, Miss Ribut's Orion, Srimulat, Wayang Orang Bharata
and Miss Cicih, which were capable of providing a livelihood for
their members.

Nano's obsession is for a venue with 100 seats.

He has worked out the intricate details. There will be a
balcony, and the stage is equipped with a sophisticated sound
system and modern lighting. Its architecture would meet the
requirements of a very intimate performance hall, where the
audience can recognize the players and the players can chat with
the public. A housing complex will be built for cast and crew
who have no home or are single.

"We would perform a particular repertory production
continuously until the number of spectators dwindles to a low
point," Nano said dreamily of his plans. "Then we would take a
break and hold repeat performances. In an off season, our hall
can be used by other groups."

Teater Koma plans to run the theater by inviting the public to
become permanent members. If the theater's circle of members
totals 1,000, the number of performances will be 10 too. For
1,500 members, there would be 15 nights of performances, with the
frequency of performances determined on the basis of the number
of permanent members in a given year.

The most attractive aspect of the dream is that audience
members and cast would get together for a meet-and-greet session
after each performance. Whether his dream is realized sooner or
later, Nano's perseverance and attention to detail will continue
to be his unflagging trademark.