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Rendra and Teater Mini Kata as a Counter Culture in Yogyakarta on the 1960s:
Considering a Tradition for Creating a Modern Theatre
Yudiaryani
Indonesia Institute of the Arts Yogvakarta
Abstract
Rendra fundamentally changed the Indonesian theatre history by introducing modern
theatre in the middle of the success of traditional history. Values of Javanese cultures and
religious attitudes, as well as social, politic, and economic turbulences in Indonesia,
became dynamic and effective elements for him to present his opponents to the tyranny
systems.
It is no doubt that Rendra and his works, especially Mini Kata, has been
symbolized as an innovation and a counter culture of theater in Indonesia. Rendra does
not only create something news and surprising, but also he remains to maintain tradition
values. He remains to consider tradition for seeing possibilities of innovation. The
traditional theatricality are things that can be innovated for some other purposes. Contexts
of everyday life, i.e. social, politic, and economic values and their dynamical change
become elements that can be absorbed for the sake of tradition value innovation. Rendra
was lucky to get chance to take science of theater in the Western. He came on the right
time when Indonesia needs someone to break “a great wall of Tyranny System”.
However, from the early era of reformation in1998, is the challenge still relevant?
If so, the question is “Would the great talent of Rendra remain to affect the theatrical
performances? The performances that has brought him into a position as an innovator for
Indonesian modern theatre. Would contemporary theatrical artists do exactly the same as
Rendra in the past time? That is right in the middle of point of view from the entire national
and international public.
Keywords: Rendra, Mini Kata, counter culture, tradition, modern theatre
Introduction
Rendra, the brief name of Willybrordus Surendra, is the famous theatre director of
Indonesian modern theater, who has great effects on the domain of Indonesian arts. His
group of theatre, namely “Bengkel Teater”, had been active from 1967, when Rendra went
home from America after studying for several years in New York. His first work was
abstract and non-linear theatre called Teater Mini Kata (Theatre of Mini Words). Teater Mini
Kata was considered as a counter culture for the Indonesian theatre in 1960s
Rendra is not only an artist. He is one of the vital figures in the 20th century. The
Indonesian government and the critics make him radiance. But, the most important thing is,
“what contribution will Rendra offer to the contemporary theatre in this 21st century”?
The presence of Rendra seemed to “change fundamentally” the Indonesian
theatre history which developed from tradition to modern directions. His process of
creativity in the field of modern theatre was supported extraordinarily by his past life
experiences. Values of Javanese cultures and religious attitudes, as well as social, politic,
and economic turbulences in Indonesia, became dynamic and effective elements for him to
present his opponents to the tyranny systems. The oppressive government and the
dogmatic religion doctrines had pushed him to be a rebellion, counter persons who always
concern to the improvement of people condition. From his childhood to the adolescent
stage, Rendra’s image was a phenomenal person.
The presence of Rendra in 1967 and the development of Indonesian modern
theatre in Yogyakarta seemed to mutually work as to form a linearly and circularly moving
stage. Meaning that the phenomenon of Rendra showed the presence of an advance
movement for the theatre innovation in Indonesia. The innovation did not only produce an
“alien” thing for the audience, but they also showed his past tracts: “the continuity of
tradition”. Rendra is known as a counter and innovative artist in the field of culture and
intellectual domain. His idea on a “rowdy” behavior and a “somatic theatre” has wide
responses to Indonesian modern theatre artists.1
Both are targets of Rendra’ s creativities historical counter. It occurs from a thing
bridling the low class to the nation: both are counter thought in order to defend the
marginalized persons and resist tyranny systems; both are born from Rendra’s personality.
They seem to be great spirit for human freedom and justice feeling which is a truth-at least-
for Rendra.
1 Syu’bah Asa, in his introduction for Rendra on Kompas Newspaper, Jakarta, 23 December 1999
Picture 1 & 2 Doc. of Rendra’s Bengkel Teater. Jakarta. Haryono, ed., 2005.
Doc. of Jakarta Magazine. April 1986. (Source: Intisari)
Rendra, the Innovator
Rendra is a radical artist. The adaptation of Western plays and then he performs
them has indicated his intentions to the existentialism themes. Rendra absorbs the themes,
and also manipulates them as materials for his contemporary usages. Here is the strength
of Rendra’s innovation and intelligence. He has potency and capability to capture contexts.
In other words, Rendra lives in contexts.
Rendra counters human attitude in having religion and experiencing Java culture
values. Religion, for Rendra, is a protecting place. As in Java culture, both are big portraits
in the background of him. It is like naturalistic painting, both seem engulfing him. Yet,
Rendra is able to hold them by both of hid hands and he is able to consider usefulness for
him. As a result, Rendra can exist inside and outside tradition and religion, but he can not
leave behind. Thus, since he was to write poems of his good works together with Sunarti,
his wife, with Catholic symbols, such as, Church bells and hooking little angels.
Some of Rendra’s poems which were written in America and read here, after he
went home in 1967 - for example, Nyanyian Angsa and the Khotbah are full of rebels in the
Church. It is really “a la America”, but prospects of Rendra’s rebels have been started from
his childhood. Solo city is a witness of Rendra’s rowdy (urakan) attitude. Although his
father, who obeys Catholic rules, wants Rendra to be diligent to pray and follow activities
done by his Catholic friends, Rendra remains to loaf around and make close friends with
artists. In the environment, Rendra began to know a real life. Social problems, such as,
corruption, poverty, and moral decadence, face society. life after freedom revolution of
Indonesian Republic.
From the time, the works, such as, “Dataran Lembah Neraka” (1952), “Goncangan
Pertama” (1952), and “Bunga Semerah Darah” (1953), were created. Themes with
individual existence nuances are distributed and spread to community themes. It seems
that Rendra counters only institutions, not religious existence that belongs to religion.
Rendra never has over -attentions at the dogma, although it does not mean that he did not
choose it. A thing, which motivates Rendra to counter, is a way of body which, according to
him, can squeeze a soul. Even, it can be said that, really, he counters a religious hypocrite
attitude, a thing which does not only realistically deal with Christianity people.
Rendra stands firmly when faces authority oppresses the low class. Since his
drama titled “Orang-Orang Di Tikungan Jalan, 1954, had been able to be seen where
sympathy of the young play director is lied. He defends the poor. Rendra makes movement
for the marginalized people’ interest, the real environment. Creative process of Rendra can
be started from his childhood, when he was in Solo from 1949 to 1954, and his adulthood
in Yogyakarta from 1955 to 1964 before he went to America. The peak innovation of
Rendra was signed by the presence of repertoire Mini Kata from 1967-after Rendra went
home from America-to 1969. The personality of Rendra is a personality which can
synthesize tendencies of art and culture. The synthesis is oriented to creative activities and
discursive thought. It means that the tendency of art for Rendra is a place to find forms of
new expressions, new culture instruments, that enable people to meet new needs in the
spirituality. Cultural or social tendency is a place where the artist participates in thinking
cultural and social problems. Both tendencies are integrated into Rendra’s creativity
process. Then, it can be said that the creative process of Rendra is a gradual proceed from
natural awareness to cultural awareness.
Picture 3 Rendra obtained an award on Arts from Akademi Jakarta, 1970. Doc. SH/S-9
The creative process of Rendra can be observed by development of his verse and
expressive form of theatrical performance. Rendra stated that he experienced the natural
events of his environment when he was adult, when he created love and marriage with his
wife, Sunarti. Also, at the time, Rendra dealt with his convenience for myth, legend, and
tale. Even, he likes puppet show, tries to understand suluk dalang and impressed by
Javanese traditional of children performances. His loves for natural events express his
sensitivity to the rhythm of natural shown on his works.
Mini Kata as an Acting Training Method
Rendra is the innovator artist. Putu Wijaya undoubtedly called Rendra as an avant
garde theatre director in 20th century. Eugene Ionesco called the avant-garde as a new
theatre that is not popular and considered as a group of Minority Theater. The theatre of
avant-garde, on one hand, creates critical arguments; on the other hand, it produces
theatrical innovations. The theatre constructs a performance with non-conventional
elements. Even though the theatre is not popular, but it exists and followed by the latter
artists.2
2 Putu Wijaya, “Rendra”, in Edi Haryono (ed.), Rendra dan Teater Modern Indonesia. Kajian Memahami Rendra Melalui Tulisan Kritikus Seni (Yogyakarta: Kepel Press, 2000), 286
Picture 4 Improvisation show of Bip Bop by Bengkel Teater in Balai Budaya, Jakarta, 1968. (Photo: Profil Club)
Picture 5 & 6 Bip Bop show. Kompas Daily. Photo/el. 1971. Bip Bop Show in 1975. Doc. of Burungmerak Press.
After Rendra, came back from America in 1967, he introduced a repertoire named
by Goenawan Mohamad, “teater minikata” a short repertoire which only prioritizes on
moving, simple stage compositions and acting without voice, with only passionate noise. 3
The repertoires were “Bip-Bop”, “Piiip”, “Dimanakah Kau Saudaraku”, and “Rambate Rate
Rata”. The forms shocked little circle of artists. For the first time, he managed rama without
story. For nearly 2 years (from 1968 to 1969), the front ground of Kompas-daily newspaper
was full of argument writings on Mini Kata by critics. Reader letters always questioned
meaning of the shows. Art works were never discussed “as full as” Rendra’s works.
Rendra and the members of Bengkel Teater, in the beginning, assumed the
repertoires in Mini Kata as an experimental training for actors. The training is a body
3 Goenawan Mohammad, “Tentang Mini Kata”, in Edi Haryono (ed.), Rendra dan Teater Modern, 256
movement training. The result of the training is called gerak indah or beautiful movement.
This movement is different from a dancing body movement. The instinctive movement
does not have specific patterns because they appear directly from the actor’s instinct. The
process of creating the acting i& spontaneously when the actors respond directly to some
external stimulation.
The beautiful movement used some words minimally, corrupted words or
language. It is noises like (makes a whispering noise) “what what what what”, “are you
angry?”, “wnwnwnwnwn”, “booor”, “aaaah”; Mini Kata builds its theatricality around the
expression. Sometimes Rendra incorporates dance and song. Mini Kata becomes a kind of
structure, very loose. The words were used by Rendra to express imagination. The
imagination is presented through words spoken politically. It is no longer used for verbal
meanings. Forms of such movements and words can more be understood intuitively than
logically, so that communication with audience becomes more free and spontaneous.
Picture 7 The participants of Kaum Urakan camping. They could freely sit or lay down on Parangkusumo and Parangtritis beaches while listening to speeches (left). Sunarti and Rendra were
saying the prayers of kaum Yogi ”Narima Horengkikyo” (in Japanese language)in the closing ceremony. (Photo MIR/P.14)
The discipline of regarding the way of nature, of culture, is kind of Rendra’s credo
that is responding to all these needs. Rendra believes that an artist should always try to
dwell in contextually; Contextual work, the contextual situation, but at the same time also
reaching universal values. For example, our feet are on the ground. Ignas Kleden called
the Mini Kata acting as progression acting from the natural awareness phase to the cultural
awareness. It means that the progression changes not only the domain of artistic creativity
but also the domain of thought.4 The progression indicated that artists try to modify the
relativity of theatrical convention. The role of convention is really to help and to guide
artists to communicate to their audience. Through the convention, hopes, intentions, and
desires of audience could be considered by the performances. The beautiful movement on
Mini Kata could hopefully remove the dead spirit of traditional convention.
The body movements of Mini Kate show specific desire from Rendra to portrait the
society. Meaning that it is certain relationship between Rendra and society, because the
actors’ body movement should represent actors’ life experience in society. The art and
society do not mutually relate only and affect each other, but they have a dependent
relationship. It means that each could be an object and subject in vice versa.5
Picture 8 Waiting for Godot. Bengkel Teater. Doc. of Matra 1986
Rendra increase continuously his attention to how he could communicate with
audience through his theatre. The communication is vital in showing theatre because
through communication elements, an idea can be more easily received by the audience.
Creation of beautiful movement in actor body training is continuously done by Rendra and
the members of Bengkel Teater in order to establish communication with the audience. For
example, creation of beautiful movements when Rendra prepared Menunggu Godot
(1970), Kazidah Barzanji (1971), and Mastodon dan Burung Kondor (1973). Even, in the
next theatre performance, the beautiful movements becomes the basic forms of acting
4 Ignas Kleden, “Kebudayaan dari Posisi Seorang Seniman: Mempertimbangkan Rendra” dalam Rendra Mempertimbangkan Tradisi (Jakarta: Gramedia, 1983), 101
5 Arnold Hauser, The Sosioklogu of Arts (Chicago and London: The University of Chicago Press, 19820, 89
typically belong to Bengkel Teater.
Indonesia modern theatre shown in Yogyakarta in 1960s was dominated by some
realism performances. At that time, the realism theaters were developed by educated
artists. Both artists and groups came from schools and universities, such as, Technical
School, Women Teacher School, Drama and Film Art School, and Faculties of Literary,
Pedagogy, and Philosophy of Gadjah Mada University. The realism conventional
performances were based on translated plays, such as, Nora by Hendrik Ibsen, and Awal
dan Mira by Utuy Tatang Sontani, Penggali Intan by Kirdjomuljo, and others. Even, ideas
on theater showing are based on principles of mannerism or everyday styles.
The idea of realism plays depends on well made play. The kind of play was
developed by Eugene Scribe (1791-1861). Its descriptions are as follows: the exposition is
clear in illustrating situation and character of a figure. The plot of story progress from one
stage to the next stage on a “cause and effect” model. Such type of structure is always
used in all conventional realistic dramas.6
In his early career, Rendra also produced realistic theatres, but he developed and
changed way to produce. His play titled Orang di Tikungan Jalan (1954), for example,
although it was written by realism style, but its writing element process does not follow a
realism conventional. The story plot occurs without clearance of causality, but it is based
on fragments; the story occurs off hand. In his early story, all figures are introduced one by
one to readers; they appear without clear motivation. Dialogs of the early story do not
present specific issues soon. Such story telling style is similar to absurd works, such as,
Menunggu Godot by Samuel Beckett and folk theater story telling styles, such as, wayang
kulit, wayang thengul, wayang potehi. Thus, the play of Orang-Orang di Tikungan Jalan
(1954) made in the middle of realism esthetic tendency has shown Rendra’s opponent to
realism convention.
6 Oscar G. Brockett, The Essensial Theatre. Fourth Edition (Orlando, Florida: Holt Reinehart and Winston, 1988), 184-185
Picture 9 Mastodon and the Kondor Bird (1973). Directed by Rendra. Bengkel Teater. Doc. of Rendra’s
Bengkel Teater.
Mini Kata is an avant-garde performance. It is considered as not origin from
Rendra, because, in the 60s this style had spread in almost all theatre production in
America. On the 1976, ten years after Rendra had been in America, in Soho, Greenwich
Village, New York, the style seemed to enter final times. It is acceptable that an artist from
any country could get effect from artists abroad. But, the more important, marginalizing of
story absoluteness becomes avant-garde for Indonesian theatre innovation. The
awareness to consider own materials is an important ways how to enrich the Indonesia
contemporary theatre. Similar materials which give birth to life are saved in various
performances, such as folk theatre and ethnic theatre. There are the ways considered by
Rendra. Rendra creates Indonesian style, although he must turn to Western, but the style
production is not Western style.
Mini Kata was created by awareness to the Indonesia natural environment, such
as, Parangtritis Beach, Sendang Kasihan, and Pasar Sapi Kuncen. These places
encouraged the skill of body and mind of Bengkel Teater actors. Their acting skill
represented Indonesian character on stage. Rendra has created a type of performance
which is not realistic drama of Western model which is strained and clumsy, and also not a
type of ketoprak or wayang orang, which is static and calm. Mini Kata, which remains to be
product of modernity, has opened a gateway for Indonesia theatre to be modern.7
Mini Kata could be considered as a “school” of a modern theatre. All theatrical
forms of Indonesia Modern Theatre in Yogyakarta on 20th century were influenced by Mini
Kata. The dialectics between traditional elements and the new ones expressed the struggle 7 Bakdi Soemanto, Rendra: Karya dan Dunianya (Yogyakarta: Grasindo, 2003), 60-62
of theatre for creating its identity. The artists absorbed these influences in order to change
their perceptions on humanity struggles. Therefore, the challenge for the modern theatre
and its artists are no longer to free from the government oppression as in the past century,
but how the theatre could show artistic step out of art frame.
In the history of Indonesia modern theatre, even art in general, there was not a
relevant theatre to social events, such as, the theatre performed by Rendra. It is not
intellectual movement through magazine of Pujangga Baru to support freedom ideas. It is
neither individual activity which involves with the time after freedom revolution, as occurring
in an artist, Chairil Anwar. In the hands of Rendra, theatre and poems seem to be
successful in looking after the entire nation to face against the oppressions.
Kaum Urakan (The Rowdy People) as a Counter Culture
Indonesian-cultural art situation in 1960s was full of “wars” of ideology between
two groups. Group of artists LEKRA which emphasized ideas oriented to democracy with
slogan “politic is a commander”, with group of artists MANIKEBU more oriented to liberal
humanism ideas. LEKRA rejected universal humanism because this conception is
considered to be an anti revolution conception. It does not mean that LEKRA resisted
humanism, but LEKRA avoided abstract humanism, which names it self “universal”, LEKRA
received concrete humanism to support many people, namely dedicated to workers and
labors, as well as farmers.8
Ideological argument between both groups affected development of functions and
roles of performance arts in society. Group of LEKRA had chosen traditional art forms,
such as, ketoprak and ludruk to socialize their ideas. MANIKEBU artists had to tendencies
to perform Western realism plays consist with spirit of universal humanism. Performance
art is an effective medium for propaganda needs of political party ideology and to get mass
sympathy. LEKRA was able to integrate group of ketoprak in the entire Indonesia colleated
in an organization named “Badan Kontrak Ketoprak Seluruh Indonesia” (BAKOKSI) in
1957, whose office was in Yogyakarta. In short time, BAKOKSI was successful to collect
801 groups of ketoprak consisting of 40 groups of professionals and the remaining was
amateur group. Group of ketoprak was always recommended to present drama themes 8 D.S. Moelyanto, and Taufiq Ismail, Prahara Budaya: Kilas Balik Offensif LEKRA/PKI DKK
(Bandung: Mizan, 1995), 39
supporting policy of government and PKI.
In the middle of political arguments between artists, Rendra was invited to follow
seminars in dry season in USA in 1964 with helps of Church institution motored by Romo
Dick Hartoko for 2 months. Then, Rendra got grand Rockefeller Foundation for observing
cultures and arts in US in his capacity as poet. L’1 the state, Rendra started to study
sociology, especially practices of capitalism and communism politic. Rendra started to
understand that both ideologies, in practice, always distribute continuous intervention
activities on art. The intervention appears on the ideology of neo-colonization and neo
imperialism. Rendra also studied American democracy system, which, at the time, was
impressive. According to him, the system is able to serve many possibilities in interaction of
human life.
Picture 10 Activity in the Kaum Urakan Camping in Parangtritis Beach. Bengkel Teater. Doc. of
Tempo 1972.
The presence of Rendra and his works in Indonesia modern theater in Yogyakarta
from 1967 to 1969 had become a surprise event for the Yogyakarta people. His presence
was widely responded by audiences. His skill to play dramatic figures on the theater stage
and his ability to make contextual plays with social situation, invited hundreds or even
thousands audiences came to see his theatre. It indicated that Rendra had been “idol” for
society.
Rendra is one of the Indonesian artists which could be able to formulate at the
same time culture and arts. Started by camp activities of rowdy people in Parangtritis on
October 1969, Rendra began to pioneer his ideas. The activity where the rowdy people
involve was called Parangtritis alternative. For Rendra, the activity is autonomous,
responsible, free, and spontaneous. It is not depending on the government support,
authority doctrines which become bases for the activity, and organizational rules which
inhibit freedom of participant to express. Rendra realizes that the current young people
have been usually guided, suggested, and directed, that made their spirit soften. The
current spirit does make the young people difficult to develop their personality
autonomously, and authentic action.
The word “Rowdy” (urakan) means a behavior or action without any rule; behaving
to violate or do merely.9 Rendra’s attitude is enough to make the society surprised at the
time. Same as Bengkel Teater members, Rendra walked on foots along 25 km to
Parangtritis. The activity was to find inspiration of theatre training. It was done by
interaction with natural environment and local people.
For Rendra, the meaning of rowdy people is not a group of people who alienate from the
society, but they intentionally marginalize themselves to see the society critically. Seeing a
new point of view, it can be expected to shine a point of view. The rowdy people want to
shake a situation and condition society at the time, because all activity of society has to get
permission from the authority, then it is necessary to be free for doing creativity. 10
Picture 11 Rendra in the middle of the participants of Kaum Urakan Camping. Water, sand, wind, and sunshine witnessed the union of hills and sea on the south beach. Photo. Rudi Hoffmann. Doc. of Basis
Idea on camping for the rowdy people can not really be separated from the
appearing ideas in America when Rendra studied in the Academy of Dramatic Art in New
York in 1964. The development of theater in America after the World War II is related to the
theater development in Europe. Interaction between cultures, called inter-culture, was
firstly done by Antonin Artaud, and then developed by Gordon Craig, Jerzy Grotowski and
9 Anton M. Moeliono, ed., Kamus Besar Bahasa Indonesia (Jakarta: Departemen Pendidikan dan Kebudayaan, 1988), 995
1 0 Ruedi Hofmann, “Di Pojok Kebudayaan”, dalam Basis, XXI-3 (Djanuari, 1972), 127-128
Richard Schehner. Inter-cultural idea becomes a phenomenon in American theater in the
end of 1960s. Inter-culture of theater is an interaction between cultures by taking and
integrating excellences of the acting techniques of traditions.
Idea of Antonin Artaud was developed by Growtoski through three phases of
activities, namely laboratory of theater, research of para-theater, and objective drama.
Grotowsky held collective training of his member of group and went to live in remote
villages. Grotowsky made relationship with Asian countries, such as, China, Japan and
India. Orientation of training concentrated on exploration of Eastern traditional values,
Grotowsky called this activity “active culture”, which is then an alternative form of the
thought for American theater artists at the same time.11
Picture 12 The participants of Kaum Urakan Camping were doing reaharsal. Doc. of Basis. Photo Rudi Hofmann.
Picture 13 Training for members of Bengkel Teater for Rambate Rate Rata Show. Doc. of Azwar A. N. in Dwi Klik Santosa, 2005.
1 1 Yudiaryani, “Transformation and the Method of Via Negativa in the Work of Grotowski”, masters thesis, School of Theatre and Film Studies Faculty of Arts and Social Sciences the University of New South Wales, Sydney, Australia, 1995, not published.
Innovations by Rendra and Bengkel Teater surprises people how to consider their
traditional values. The model of rowdy people training and theatre of Mini Kata present
cultural values belongs to Javanese tradition. Actually, Rendra hold firmly the Java
tradition, but he chooses traditional values which give spaces for thinking and action
freedoms in facing problems of human rights. That is the tradition of human to process
spiritual ability.
Then, Rendra is not fanatic in viewing tradition. In one side, fanaticism on tradition
marginalizes the spirit life of tradition itself. In other side, attitude of anti tradition values will
separate artists them selves from relationship with other people. Therefore, according to
Rendra, the artists must be able to experience the traditional meaning and dialogue and
make relationship with the tradition. The artists have to consider continuously their role in
developing the traditional values which is useful for the society. 12
In considering the traditional values for the society, Rendra applied spirit of
tradition in processing of Mini Kata training. For example, the training method in nature
which could enrich the sensitivity of actor when they create acting movement. He also used
Java traditional idioms to arrange music, costume and make-up and stage scenery, some
of adapted Western plays, such as, Hamlet (1971) by William Shakespeare, Perampok
(1976) by Bertold Brecht, and Oedipus Berpulang (1976) by Shophocles.
Rendra has chosen “Bengkel Teater” to name his group. Word “Bengkel” means a
place to repair cars, small plant; place for workers, place to play drama. In the term,
Rendra wanted to realize his idea to “repair” the body of actors. He created the theatre that
can be a medium for artists to get involve in improvising and criticizing the condition of
society and its environment. Bengkel Theater’s activities included workshop, improvisation
and discussion amongst its members. Bengkel Teater was formed not to perform “lakon”
but to train actor how they “remove” the handicaps of their body in order that they are
ready to participate in theatre productions. In the training, the actors are customized how to
manage their spirit, ngranyang raga (to grope the body), nggrayang sukma (to grope the
soul), nggraita (to grope, taste, hear and see life), nyurasa (to realize things produced by
sense capturing) and ngripta (to create). This training seems to require them to reintimate
the other of life in human body.13 1 2 Rendra, Mempertimbangkan Tradisi (Jakarta: Gramedia, 1983), 51 3 Rendra, “Pengalaman Mengejar Tujuan yang Belum Tercapai”, in Tommy F. Awuy, ed.,
When Bengkel Teater was formed, when Rendra went home in 1964 Azwar AN,
Moortri Poemomo, Bakdi Soemanto, as first circle of Bengkel Teater advised Rendra to
make an acting training. The training did not start from play, as usually, but it was from
observation of problems appearing around them. It indicates that the production programs
are really not appearing from the mere desire of Rendra but from all the members of
Bengkel Teater. Then, the second forces appeared, such as, Chaerul Uman, Putu Wijaya,
Amak Baljun, Untung Basuki, and Titik Broto joined the Bengkel Teater.
Also, in processing organization of Bengkel Teater, the artists joined the Bengkel
Teater to make an organization process model. Robinson Simanjuntak-one who is
responsible for the organization proceeds - made two duties for all members of Bengkel
Teater. The first is routine things established by a group, for example, to clean and prepare
a place to train. Second, routine duty that must be found by each individual with his
voluntary. As a result, the members are more discipline, and their dedication to the group
becomes better. Responsibility of members for the production of Bengkel Teater is also
more real. They together collect money from their pocket for production process.
Even, when the members of Bengkel Teater got criticism from some other artists,
they invited soon the artists and critics. The discussion are used for socializing and
increasing appreciation of audience to their performance. As a result, when Bip Bop (1968)
was performed, hundreds of people had come to see the performance, and it produced
profits from ticket sales.
The influence of art in society is no more dominant or could present a relation
profitable for the art only. The effect started from people and directed through to an art
work, do not represent directly of people needs. There is only a fact that shows that the art
can affect and be affected by society. The society always changes. It can also affect the
presence of art. In vice versa, the art produces changes in society, and at the same time
the art changes in itself.14
The inter-dependence between art and society can be used as a basic analysis to
understand Rendra’s role in the society. The simultaneously change between Rendra,
Bengkel Teater, and society condition totally structured. It is reflected by the urban society,
namely Ketanggungan Wetan society, where Bengkel Teater stays in Yogyakarta. The Teater Indonesia, Konsep, Sejarah, Problema (Jakarta: Dewan Kesenian Jakarta, 1999), 15-16
1 4 Arnold Hauser, 1982, 90
members of local society are always actively involved, both to preparing and viewing the
performance of Bengkel Teater. The training which is presented by the Bengkel Teater
gives economic impact for the people around. They sell foods for eating and drinking
needs of artists who come to participate the training.
Local society involvement and artists in Yogyakarta economically and politically
show presence of specific ideology that is taking place behind the activity. Relationship
between theater and society show some transfers ideology at micro level, namely Rendra
and the members of Bengkel Teater to macro level more oriented to presence of group or
certain society, namely Ketanggungan Wetan society and artists outside Bengkel Teater.
Such condition results in fact that the Bengkel Teater is successfully belong to the society.
Rendra and Yogyakarta Modern Theatre
The characteristic of Indonesia modern theater is, firstly, theater that needs
relatively longer training process, namely from 3 - 6 months. Secondly, the Indonesia-
modern theatre is an instrument to communicate through intelligence element, not
inheritance, as results of intellectual thinking process of the young people. Thirdly, the
Indonesia-modern theatre uses Western dramaturgic model, using also traditional idioms
and elements. Fourthly, the Indonesia-modern theatre. forms symbolization performance of
abstract and authentic meaning. Fifthly, the Indonesia-modern theatre uses theater director
model with absolute responsibility in his hands. Sixthly, the Indonesia-modern theatre uses
Indonesian language. The Indonesia-modern theatre grows in big cities and its form shows
the relationship between traditional theatre and western theatre.15
Theatres in Yogyakarta can illustrate variety of social and cultural expressions in
Yogyakarta society. Yogyakarta modern theater as one expression of society art of
Yogyakarta can point widely out the conditions above. The artists from different cultural
background stayed in Yogyakarta to indicate an “aromatic” Yogyakarta. In October 1967,
Rendra established Bengkel Teater with members of the fIrst circle, namely Azwar AN from
Minang ethnic, Moorty Pumomo, Bakdi Soemanto and Sardono W.Kusumo from Solo,
Chaerul Uman and Amak Baljun from Pekalongan, and Putu Wijaya from Bali. Most of
them were students.1 5 Jacob Sumarjo, Perkembangan Teater Modern dan Sastra Drama Indonesia (Bandung: PT
Citra Aditya Bakti, 1992), 190-191
Picture 14 & 15 Some expressions of Rendra as Oidipus in Oidipus Sang Raja Show (1964).
Doc. of Berita Yudha Daily 1976. Photo: dans.
Background of the members gives chance to Rendra to create his theatre not
oriented to specific tradition. Rendra turns to tradition which is outside him, even to existing
outside Indonesia traditions. The traditions must not be overvalued, but these must be
eternalized by considering it as a medium. Thus, the traditions will be useful for society
interest. These will give way to artists for innovation; these will guide the society to find the
root of their culture. The innovative idea by turning to the root of tradition will produce
unique, typical and reliable theatre works. The works will be references for development of
modern artistic. Even, the process of creation will be imitated and developed by the next
artists. Certainly, this is an avant garde work.
The Indonesia-modern theatre in Yogyakarta is affected from traditional theater
forms. Edi Sedyawati called tradition theater as a theater related to tradition or having
tradition. Difference between modern and tradition theater can be seen from two things as
follows: from mode of culture communication and understanding and experiencing. The
tradition theatre integrates and combines some culture elements which has already known
by the artists These elements actually belong to the artists, because there is no different
between artists, culture, and environmnet.16
However, the traditional theater, in fact, does not only to construct the continuity of
tradition for its theatricality but also to absord the culture on wide space. The traditional
theatre will experience some adaptations when the artists absorb the other environment of
1 6 Edi Sedyawati, “Bilingualisme Teater Tradisi Kini” in Pertumbuhan Seni Pertunjukan (Jakarta: Penerbit Sinar Harapan, 1981), 40-41
their original culture. For example, the players will use some methods of acting to playa
role, and also their dialogue is a new language, for example, Indonesian language.
Theatrical acting and Indonesian language becomes a new requirement for the traditional
theater. Ketoprak, for example, adapts also this requirement to some extent. The
production of Ketoprak needs play director, play writer, actors, artistic team, and marketing
management, as a production of modern theater. Ketoprak often appears on central city to
get the young generation and urban society taste.
Picture 16 Ketoprak Tujuh Jam Show. This Panembahan Reso show was presented in traditional clothes and music.
Directed by Rendra. Played by Bengkel Teater in Istora Senayan Jakarta. August 1986. Doc. of Tempo. Photo: Adhie Massardie/Asril Amran
Picture 17 The Antigone Show of Sophocles was presented with the style of Ketoprak Mataram and Silat Cina. The music used kendang, keprak, and gong. Directed by Rendra. Played by Bengkel Teater in 1974 in Taman Ismail Marzuki Jakarta. Doc. of Yudha Sport
Film. August 1974. Photo: Santo. W. S.
Picture 18 The Perampok Show of Friedrich von Schiller. Translated and directed by Rendra. Played by Bengkel Teater. The style is like Wayang Orang show. Started with jejer, conflict, jejer again, increased conflict. Simple music and irid tone. The costume was like a Ketoprak Show. Doc. & photo
Yudha Minggu. October, 1976.In its development, thus, it is not easy to differentiate a traditional theater and a
modern theater. There are changes in both description meanings caused by adaptation
and mutual effects from both side. On one side, Ketoprak that is early citizenry expression
with rural people tradition, is now dominated by a way to express with politic ideology and
aspiration with modern theater in nature, different from society desire of ketoprak audience.
Wayang orang, for example, that is known to bear from Palace tradition, must finally go out
of its tradition and must self adapt to elements western theater showing and practice to
manage it. For example, tradition art has used training element of actor and play direction.
On the other side, the modern theatre which was influenced by realism slowly
adapted some traditional elements that enriched its theatricalities. Similarly, the Indonesia-
modern theatre in Yogyakarta is impossible to separate from traditional elements, and from
the process of artistic creativities and community management.17 The Indonesia modern
theatre in Yogyakarta has characteristics that are realized through a community
management. Landung Simatupang, theatre expert in Yogyakarta, explains that groups
community of theatre into classified into three form of management, namely campus
theatre, theatre studio, and theatre on campus. A campus theater is a theater with having
activity in the campus that does not give any practical theatre. Early, the appearance of
campus theatre in Yogyakarta was known through student group ,activity, faculty of
literary, pedagogy and philosophy of UGM, 1953. A theatre studio is a theatre group
1 7 Umar Kayam, “Seni Pertunjukan Kita”, in Global Lokal, Jurnal Seni Pertunjukan Indonesia, Th. X-2000 (Bandung: MSPI, 2000), 23-24
outside education institution and known as Moslem theater, Christianity theater, Catholic
theater, established from 1960 to 1965, and Bengkel Teater established by Rendra et al in
1968. A theatre on campus is theater having activity in education institute of the art, known
from the establishment of education institute of the art, academy of drama and film
(ASDRAFI) in 1951.18
Picture 19 Oidipus Sang Raja. Directed by Rendra. Bengkel Teater. Doc, The Jakarta Post
The artistic production of modern theatre in Yogyakarta tends to be mutually
affected by a management of group and some creative process of artists on it. Artists, such
as, Arifin C. Noer, Bakdi Soemanto, Azwar AN, Rendra, and Umar Kayam, some of them
work in not only one group but also involved in other group. For example, Arifin in Moslem
Theater moved to Bengkel Teater. Bakdi Soemanto in Catholic theatre involved in Bengkel
Teater. Azwar AN from Bengkel Teater, then, establish Teater Alam, Rendra, from
Lingkaran Drama Mahasiswa, then, fonned Bengkel Teater. In 1960s, the groups of
Indonesia-modern theatre in Yogyakarta did not only affiliate in schools, they also affiliate
in politic and religion party. Some of the groups are Christian Theatre, Moslem theatre, and
Catholic Theatre. The groups performed with more realism styles.
1 8 Landung Simatupang, “Yogyakarta dan Kegiatan Teaternya (Urun Ingatan dan Amatan Seorang Pelaku),” in Bakdi Soemanto, et. Al., Kepingan Riwayat Teater Kontemporer di Yogyakarta (Yogyakarta: Kalangan Anak Zaman, The Ford Foundation, Pustaka Pelajar, 2000), 107-108