When theatrical costumes part with the human body

When theatrical costumes part with the human body

By Yusuf Susilo Hartono

JAKARTA (JP): Stage or theatrical costumes are "alive" and
"have souls" when they are worn in a particular dramatic
piece--referring to a particular figure, space and time.

However, when the curtains are down and the stage is empty and
dark, the costumes are discarded as simply used clothes.

These stage costumes are now on display at the National
Gallery, Jakarta in an exhibition that kicked off on June 8 and
will run through to June 18, 2001. The organizing committee is a
working group made up of people like Samuel Watimena, Inda C.
Noerhadi, Mbah Rudjito and Hermawan Rianto, representing a motley
of professions such as a designer, a stage director and an art
observer.

The exhibition is of great interest as the theatrical costumes
represent a variety of drama performances. There are costumes
designed by Asmoro Damais and Subarkah for Teater Koma's Republik
Bagong (Bagong's Republic) and Ular Putih (White Snake), by Teguh
Karya, Dodot and Eddy for Teater Populer's Jaya Prana -
Layonsari, and by noted designer Samuel Watimena for Teater Satu
Merah Panggung's Alia, Teater Tetas's Bayi di Aliran Sungai (Baby
in River Flow) and Teater Yuka's Bisu-in-Blue.

Other drama costumes on display also include those designed by
Stephanus Hamy and Sebastian Gunawan for Teater Lembaga's
Indonesian version of Street Car Named Desire and those used for
performances by Teater Tulus Ngayah (Pembelaan Dirah/In Defense
of Dirah), Teater Mandiri, Sena Didi Mime and so on.

When you get into the hall of Building A at the National
Gallery, you will see these costumes inside. They are put on
dummies without heads.

To give you a sense of immediacy, posters of dramatic
performances between 1970s and 2001 along with photographs and
property articles of these performances, for example the royal
seat of Bagong, are also put on display. If you are still not
satisfied, then video recordings of the performances are also
available.

"We are sure this exhibition is far from perfect as we only
had about two weeks for preparation," said Samuel Watimena, the
curator.

This exhibition, the first in Indonesia, almost remained just
a plan because of the rather poor coordination with JakArt2001.
Samuel and his buddies were determined to go on, though.

Harry Dharsono, another designer who originally agreed to take
part, was so upset by the poor preparation that he withdrew his
participation despite the printing of his name in the program's
brochure.

Harry has contributed significantly to drama costumes. In the
1980s, he worked on the costumes for Othello, one of
Shakespeare's most famous plays directed by Ratna Sarumpaet's
Teater Satu Merah Panggung.

Anybody who has seen these costumes worn on stage will have a
different esthetic impression to a visitor who has never seen
them worn in a particular performance. To the latter they are
simply costumes.

However, if you have already seen these costumes used in
dramatic performances in the past, you are bound to recall
certain scenes in those plays.

The costumes are now independent, staring at you, the
audience.

The costumes used in Teater Koma's Bagong's Republic may
evoke the memory of how Butet Kartaradjasa - a semblance of Gus
Dur, the President - slumped himself on the seat of power, a
symbol of how President Gus Dur has been abandoned by his
political partners.

While the theatrical costumes and property are simply
inanimate objects, it is the interplay of our sub-consciousness
and our imagination - whether we have seen the performances or
otherwise - that will make them come alive.

In a situation like this, each of the visitors undergoes a
process of "festivity in solitude", in which he or she mentally
performs a play derived from the costumes on display.

They will freely reveal their hidden experiences and become
directors of their own memories. Each will "turn on the lights"
so that the old characters come alive again. They will also use
"loudspeakers" to ensure that the characters' dialogs echo in
their hearts.

Creative Expression

In the opinion of Teater Koma's director, Nano Riantiarno,
theatrical costumes are all pieces of clothing and clothing
accessories that a player puts on. The costumes worn by the
actors or actresses, Nano said, are expected to support the
content of the story and serve to enliven the characterization of
the characters.

Costumes, so Nano believes, are also important in that they
give prominence to the individuality of a particular character
and also to the visual effects to facilitate the movement or
acting of the players. Nano concludes that theatrical costumer
are a creative expression.

Which of our fashion designers first joined the theatrical
world? Harry Darsono or Samuel Watimena? Or were there some other
people before the two of them?

Regardless of who the first designer was, the presence of
designers in a theatrical group has significance for the entire
performance.

The director of Satu Merah Panggung, Ratna Sarumpaet, who
teamed up with Harry Dharsono and painter Dede Eri Supria for the
setting, said that this cooperation opened up many good
opportunities in artistic and economic respects.

Facts show that not all domestic fashion designers are
interested in theater plays. The reasons are varied, including
the fact that they have to work hard studying the script and
characters as well as the making of full costumes with all their
small accessories.

Unfortunately, little money is generated from these
activities. Sometimes, they receive less than what they spend, so
they became the sponsor of their own performances. Only designers
imbued with great idealism may work hard to prepare a stage
costume free of charge.

One of the people nurturing their idealism is Samuel Watimena.
He is always ready to handle the costumes of certain theatrical
groups, like Teater Yuka, led by Renny Djajoesman, Teater Tetas,
led by AGS Arya Dipayana and Teater Satu Merah Panggung.

Samuel cannot say no to friend who asks him for a favor, even
if the order is requested just a few days before display. An
example of this generosity are the costumes of 9 Malin in the
exhibition.

This piece was one of some 60 pieces of theatrical costumers
for the performance of Bisu-in-Blue by Teater Yuka at Gedung
Kesenian Jakarta between 1 and 3 June.

Samuel prepared the costumes along with his preparation of
this exhibition. "I'm used to working under great pressure of
time. I don't know why but the outcome is usually better than
usual," he said, chuckling.

Following tips from Teguh Karya in designing theatrical
costumes, Samuel always starts from what is essential and uses
familiar techniques. In general his designs appear heavy and
gloomy, quite the contrary to, for example, designs for Subarkah
(Teater Koma) that always demonstrate bright and showy colors.

In 9 Malin, Samuel used weaving patterns from various regions
in Indonesia to assert that Malin is found everywhere.

Unfortunately, Indonesia is yet to be home to a theatrical art
museum. Such a museum will allow people to watch and study
costumes a long time after such an exhibition ends. A museum like
this will also put on display theatrical costumes of various
ages: classical, traditional, modern and contemporary.

In the case of the ongoing exhibition, we can rest assured
that after the exhibition is closed, all the dress items will
silently be brought back to their own cupboards. These costumes
will have their own memory about the time when they were worn by
actors and actresses assuming certain roles and traits of
character.

In such solitude, costumes will always be aware that as an
important element in a drama performance, they will come alive
only when they are put on by actors playing their roles on the
stage.