Suyatna: An eternal spring of knowledge

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.