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