Suyatna: An eternal spring of knowledge
Aendra H. Medita, Contributor, Jakarta
In a quiet and humble way, when Suyatna Anirun passed on, he left behind him a legacy rich with glorious oeuvres for Indonesia's modern theater.
In the early hours of Jan. 4, the 65-year-old artist died at Borromeus hospital in his hometown of Bandung after a long struggle with pancreatic cancer and diabetes. "He died in great sincerity and peacefulness," said his wife, Yati Sugiati.
While not as popular as other great Indonesian dramatists like Teguh Karya, who died in December, the late Arifin C. Noer or Rendra, he was considered consistent with the modern theatrical path he had chosen. Until the end of his life, he devoted himself to the world of theater and drama.
His role as Shakespeare's King Lear in 1996-1997, along with his direction of the famous play, garnered widespread praise. But he was not only an extraordinary actor, but was also one of the original pioneers of modern theater in Indonesia.
In 1958, along with Jim Lim, Adrin Kahar, Gigo Budisatiaraksa, Sutardjo A. Wiramihardja, Tin Srikartini and Suharmono Tjitrosoewarno, he set up Studiklub Teater Bandung (Bandung Theatrical Study Club)/STB, Indonesia's first modern theatrical group, now still active in the country's performing arts scene.
It's no exaggeration to add that, throughout his life, Suyatna was known as wise and dignified.
He fell in love with the theater as a student in the fine arts department of the Bandung Institute of Technology (ITB) in 1955. Yet he became fully developed as a dramatist following the establishment of his STB.
While he shifted from working in the fine arts to working in theater, his deep knowledge of fine arts remained helpful in shaping his artistic concepts, particularly in presenting details of stage arrangement in his dramatic performances.
After the departure of Jim Lim, who emigrated to Paris in 1960s (and is still a theatrical actor to this day), Suyatna was never lax in his seriousness towards theater.
He directed the performances of modern foreign and Indonesian plays including the works of Anton Chekhov, George Bernard Shaw, Tennessee Williams, Nikolai Gogol, Bertold Brecht, Moliere, Shakespeare, Goethe, WB Yeats, Ionesco, Saini KM and Ayip Rosidi.
Suyatna wisely and philosophically believed that the theater was not the subject of discussion, but that rather a venue for acting. That's why he did not talk much about drama. Instead, he preferred to make dramatic performances part of his life.
"The theater is part of my life," Suyatna, who was born on July 20, told The Jakarta Post when he was interviewed for the writing of Buku 100 Seniman Indonesia (Book of 100 Indonesian Artists)
He loved the theater dearly. So much so that, a few days before his death, he told his wife that STB could die, but not the theater.
Indeed, STB is always associated with its founder, Suyatna Anirun, in the same way Teater Kecil is associated with Arifin C. Noer and Teater Populer with Teguh Karya.
To the theatrical world, Suyatna was like an eternal fountain. He showed his seriousness not only in dramatic performances, but also in introducing ideas for the development of Indonesia's modern theater.
In his lifetime, he had several books to his credit. His deep involvement with the theater and his ideas are found in his writings such as Mulai (Beginning), Bagi Masa Depan Teater (For the Future of the Theater), Teater untuk Dilakoni (Theater is for Acting) and Menjadi Aktor (Becoming an Actor).
Apart from being a dramatist, Suyatna was also a poet. His poems are collected in Puisi Putih (White Poems), published in 2001. Winner of the 1993 Art Award from the government, he was known as a fine journalist and was the culture editor for Bandung-based Pikiran Rakyat daily.
Suyatna was also active in formal education. He was one of the founders of the theatrical department of ASTI, now the Indonesian Art Higher-Learning School (STSI) in Bandung. For some time, he was a lecturer in the theatrical department of the Jakarta Institute of Art (IKJ). He helped bring out young actors, directors, writers and journalists.
"He was like an eternal spring," said Sunjaya, a dramatic actor and one of his colleagues in theatrical activities.
Noted poet and dramatist Rendra once recalled when was first drawn to theater, he was absorbed in STB and that he often watched the club's rehearsals led by Suyatna and Jim Lim.
"I began to be interested in the theater because I often watched STB rehearsals under Suyatna," Rendra told the Post.
A low-profile person, Suyatna was always consistent with his career choice. He was offered to join film making, but his heart and mind went with the theater. "Let me remain in the theater -- film making is for younger people," he said modestly.
His dedication to the world of drama will forever be engraved in the heart of the country's modern theater, thanks to his great contribution to its development. He will always be remembered, along with his STB, as one of the people who set the stage for Indonesia's modern theater. Farewell.