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.