Teater Koma play at UKDW Yogyakarta

Teater Koma play at UKDW Yogyakarta

By Ahmad Solikhan

YOGYAKARTA (JP): Theatrical troupe Teater Koma (Comma Theater)
mesmerized the audience back in 1993 when they performed Rumah
Sakit Jiwa (Mental Hospital) in the Purnabudaya Yogyakarta
building. This year, it has returned to Yogyakarta as one leg in
its tour of 12 cities in Java, performing on a two-tier stage
which was originally a trailer. The ornamental clouds, inspired
by the Cirebon style, were simple, as were the pieces of bamboo
bound together with ropes made of sugar palm fibers to support
the head of Kala (Time).

Kala (time or era), N Riantiarno's latest play, was performed
on June 23, 2001 at Duta Wacana Christian University (UKDP) and
became a special attraction during the 13th Yogyakarta Arts
Festival. Mostly made up of university students, the audience,
sitting in a crowd in the yard of the campus, began to lose their
patience when, at 7:30 p.m., the original time set for the
performance, there was still no sign of the play starting. They
clapped their hands and shouted yells as an expression of their
impatience for close on an hour and a half.

In response, the actors and actresses, who had not finished
putting on their make-up, finally came on stage. The lights went
out. The sound of a large drum being beaten energetically
accompanied the appearance of the occupants of heaven, the abode
of the Hindu Gods: Batara Guru, Batara Narada, Semar or
Badranaya, Togog and Gareng. As something seemed to be going
wrong, they had sent Batara Narada to earth.

Then six persons wearing black headgear staged a ritual
procession, walking round the open space in front of the stage,
each carrying a small crucible containing burning incense. They
prayed that they would be kept safe from the disaster all around.

This serious scene was suddenly disturbed when baby Kala, the
reincarnation of Batara Guru, with his placenta still attached,
cried out in hunger. The mother, Batari Durga, was at her wit's
end to see the baby always hungry. She was worried that Kala
would grow big. Even at seven months old, Kala was already as big
as a real mountain. Always starving, he would greedily eat
anything that he could lay his hand on.

Exasperated, Batari Durga had Kala isolated behind the steel
bars of a prison, but to no avail. Kala could break through with
his two fangs. Batara Narada, the spy from the heavenly abode of
the Gods and Goddesses, finally decided to take Kala to his
father to have him tried because his deeds were dangerous for
human beings.

In the final act of the play, Kala, with his placenta still
attached, listened to the decision made by his father so as to
resolve the problem. Batara Guru agreed that he would continue to
be the father of Kala on condition that Kala would obey his
instructions.

In Javanese belief, when a family has only one son or has five
sons, they must conduct a special rite to ward off evil by having
a shadow-puppet master perform the story of Batara Kala to ensure
that disaster will be warded off and that nobody in the family
will fall victim to Batara Kala.

As Riantiarno's comic play was laden with satires on the
present condition of our nation, Kala was easily digested by the
audience. The idea for the play came originally from a classical
shadow play so that the performance resembled a Javanese stage
show.

Established 24 years ago, Teater Koma is still often regarded
as a theatrical group performing plays suitable for an audience
made up of "middle class" people and upwards. This is a wrong
assumption, according to Riantiarno, who believes that the
performances of his theatrical group can be enjoyed by people of
all social strata, as the troupe's traveling performances in 12
cities is intended to show. Teater Koma, said Riantiarno, is bent
on establishing direct communication with the public through
theatrical performances in order to get the present social
conditions across to the community. "If anybody says that our
performances are intended only for the middle classes and
upwards, then they are not critics," said Riantiarno, a graduate
of the Indonesian Theatrical Academy, with some cynicism.

He said that the traveling performances would take place over
about 20 days, between June 12 and July 1, 2001, and the cities
visited would include Jakarta, Surabaya, Malang, Kudus, Semarang,
Yogyakarta, Purwokerto, Tegal, Cirebon and Bandung.

If they are successful with these traveling performances,
Teater Koma will perform at the subdistrict level to be better
able to get along and directly communicate with the community.
"Ideally, a play should not be performed only on campus or an
arts auditorium, places inaccessible by people living far away
from the cities," said Riantiarno, whose birthplace is Cirebon.

To return to the performance of Kala in Yogyakarta, the
criticisms that Teater Koma levies at current social conditions
were taken in their stride by the Yogyakarta people despite the
smooth flow of the story. As the audience was made up mostly of
students hailing from different provinces across the country, and
always critically aware of the existence of the nation, this
performance by Teater Koma, which could be considered a
manifestation of contemporary art, was readily understandable.**