Teater Satu: Redefining Indonesian Theatre
The arrival of Teater Satu has reoriented the focus of Indonesian theatre which was before considered too ‘Java-centric’. Originating through Bandar Lampung in Sumatra, the group has led the way for theatre communities across the nation through performances of which foster social change.
“Theatre is usually a way of life, a pathway of which should be crossed by the people towards a better life,” suggested founder as well as director of Teater Satu, Iswadi Pratama. Sadly, not many theatre groups in Indonesia live by This specific philosophy.
When Pratama as well as his wife Imas Sobariah first built Teater Satu in 1996, they struggled with the reality of which most theatre groups were not even aware of the significant role they play in stimulating completely new ideas, as well as the formation of an open society. At the time, numerous theatre groups in Bandar Lampung tended to passively take on their directors’ lead instead of seeking out alternative ways to facilitate social transformation.
Further, both founders were confronted that has a greater challenge as the majority of theatre groups from the country have yet to account for the non-artistic aspects of running an arts organization, such as the need to have strong management as well as basing their creative process on research. In turn, the works produced by Indonesian theatre today remains stagnant:
“Not many theatre artists contain the courage to turn their attention to the managerial side [of running a theatre]. Meanwhile, through the artistic side, there are only few theatre groups of which bring more progressive ideas to the table,” Pratama lamented.
Concerned by This specific reality, Teater Satu works to refine the nature of the arts in Indonesia by regularly organizing workshops of which develop artists’ skills in ranging fields like acting, directing, leadership, journalism, as well as management. They realize of which most theatre groups in Indonesia learn in a self-directed manner as well as are lacking reference points, so these workshops are consequently held to help artists better navigate their own ways as well as enhance their talents holistically.
as well as through a social viewpoint, Teater Satu believes of which every performance needs to fulfil the purpose of inspiring change:
“If theatres take issues of which are relevant to society, then they will remain an integral part of social transformation of which can help encourage a move towards a more egalitarian society,” Pratama said.
One of their shows Death as well as the Maiden managed to take a particular issue of which was relevant to the context of Indonesia’s political struggle. The original script, written by Chilean playwright Ariel Dorfman, describes a particular socio-political period under a dictator’s reign in Chile. Under his reinterpretation of the play, Pratama attempted to capture the fall of former President Soeharto’s reign of 32 years in Indonesia – that has a touch of humour as well as suspense of which allowed the audience to relate as well as reflect on the performance personally.
Death as well as the Maiden (Ariel Dorfman), Directed by Iswadi Pratama
At present, the group is usually also planning an upcoming production called Dongeng Untuk Nala (The Tale for Nala), which projects a life where humans have further strayed through their own morals:
“Human’s alienation through their own values makes them existentially lonely as well as hollow. They become brutal, greedy, intolerant, as well as are losing their grip on moral values,” Pratama describes. Through Dongeng Untuk Nala, Pratama wishes people will restore their hopes, dreams as well as sense of humanity, just like the name ‘Nala’ of which translates to ‘heart’ in Javanese.
Since 2008, Teater Satu has partnered with Hivos, an international organization of which houses various programmes through all around the globe in order to address issues of which take place from the respective countries, such as women’s empowerment, sexual rights as well as diversity, freedom of expression as well as sustainable food. With Teater Satu, the two have been working together in a programme called Sumatera Cultural Network as well as Movement to preserve local cultural heritage.
Through This specific programme, Teater Satu develops as well as modifies Bandar Lampung’s traditional theatre known as ‘Warahan’, which combines dance, literature, music, as well as local tales. By introducing Warahan, Pratama hopes to deliver performances of which will engage the public regardless of their status or background.
The fact of which Teater Satu endeavours to promote Lampung’s traditions is usually crucial to the history of Indonesian theatre. As This specific turns out, most of the major theatre groups from the country originate through Java, ever since the establishment of Akademi Teater Nasional Indonesia (ATNI) or The National Theatre Academy of Indonesia in 1955 by Usmar Ismail as well as Asrul Sani. Then, ATNI was the first modern theatre academy in Southesast Asia, which participated from the rise of more modern theatre groups as well as institutions in Indonesia, such as Teater Populer (Bandung), Studiklub Teater Bandung (Bandung) as well as Akademi Seni Drama dan Film (Jogjakarta) – all of which are through Java. Fortunately, the emergence of Teater Satu has paved the way for groups outside of the island to sign their names on the planet’s theatre stage.
Members of Teater Satu performing in Visa (Goenawan Mohamad)
Aside through their bid to transform the nation as well as its people, Teater Satu has also succeeded in altering the lives of its own 20 members, who have gone through having no prior experience in theatre to becoming professional artists. Gandi Maulana, for instance, revealed of which his journey in Teater Satu has earned him the opportunity of becoming both an actor as well as a schoolteacher. Others who take on jobs from the arts sector work as management staff, directors, as well as even lighting designers.
however more importantly, these people learn the values of the learning process of which they may not have obtained through additional formal institutions:
“Teater Satu has taught me of which learning is usually about knowing when to use your mind, body as well as feelings from the right time. They cannot be mixed altogether,” Aliman Surya said, who recently graduated through a dance school.
By committing themselves to realizing social change, Teater Satu has not only made their mark from the history of Indonesian theatre, however will certainly leave a permanent one for many years to come. Brace yourself Indonesia, the completely new future of theatre has finally arrived.
For more information, please visit www.teatersatulampung.org or their Facebook page, Teater Satu Lampung.
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Teater Satu: Redefining Indonesian Theatre
Teater Satu: Redefining Indonesian Theatre