arrived Teater Satu shifted the focus of the Indonesian theater that was before considered "Java-centric" too. Originally from Bandar Lampung in Sumatra, the group opened the way for the theater to communities across the country through performances that promote social change.
"The theater is a way of life, a path that must be traversed by the people to a better life," suggested founder and director of Teater Satu, Iswadi Pratama. Unfortunately, not many theater groups in Indonesia are living this philosophy.
When Pratama and his wife Imas Sobariah Teater Satu first built in 1996, they have struggled with the reality that most theater groups are not even aware of their important role in stimulating new ideas, and the formation of a public company. At the time, many theater groups in Bandar Lampung tended to passively take in advance of their directors rather than seeking alternative means to facilitate social transformation.
In addition, the two founders have faced a greater challenge than most theater groups in the country must still take into account the non-artistic aspects of managing an arts organization, as the need for strong management and basing their creative process on research. In turn, the works produced by the Indonesian theater today remains stagnant:
"Not many theater artists have the courage to turn their attention to the management side [of running a theatre]. Meanwhile, the artistic side, there are only a few theater groups that bring more progressive ideas to the table, "lamented Pratama.
Concerned that reality Teater Satu working to refine the nature of the arts in Indonesia by organizing regular workshops that develop the skills of artists in fields from acting, directing, leadership, journalism and management. They realize that most of Indonesia theater groups learn independently and lack of reference points, so these workshops are organized to help artists better navigate their own and improve their talents holistically .
And from a social perspective, Teater Satu believes that each performance must meet the objective of inspiring change:
"If theaters are questions that are relevant for society then they will remain part of social transformation that can help encourage a move towards a more equal society, "said Pratama.
one of their shows Death and the Maiden has managed to take a particular issue that was relevant in the context of the political struggle of Indonesia. the original script, written by Chilean playwright Ariel Dorfman describes a particular socio-political period under the rule of a dictator in Chile. under his reinterpretation of the play Pratama tried to grab the fall of the reign of former president Soeharto 32 years in Indonesia. - with a touch of humor and suspense that allowed the audience to connect and reflect on the personal performance
Death and the Maiden (Ariel Dorfman), Directed by Iswadi Pratama
At present, the group also considering upcoming production called Dongeng Untuk Nala (the Tale of Nala), which projects a life where humans have yet kept their own manners:
"alienation of man of their own values makes existentially lonely and hollow. They become brutal, greedy, intolerant, and lose their grip on moral values, "describes Pratama. With Dongeng Untuk Nala Pratama hope people will restore their hopes, dreams and sense of humanity, as the name "Nala" which means "heart" in Javanese.
Since 2008, Teater Satu has partnered with Hivos, an international organization which houses various programs from around the world to address the issues take place in the respective countries, such as the empowerment of women, sexual rights and diversity, freedom of expression and sustainable food. with Teater Satu, the two worked together in a program called Sumatera cultural Network and the Movement to preserve the local cultural heritage.
Through this program, Teater Satu develops and modifies the traditional theater of Bandar Lampung known as 'Warahan', which combines dance, literature, music and storytelling local. By introducing Warahan, Pratama hopes to offer performance that will engage the public regardless of their status or background.
The fact that Teater Satu efforts to promote the traditions of Lampung is crucial in the history of Indonesian theater. As it stands, most major theater groups in the country are from Java, since the creation of Akademi Teater Nasional Indonesia (ATNI) or the National Academy of Indonesia theater in 1955 Usmar Ismail and Asrul Sani. Then ATNI was the first modern theater school in Southesast Asia, who participated in the rise of several modern theater groups and institutions in Indonesia, as Teater Populer (Bandung), Studiklub Teater Bandung ( Bandung) and Akademi Seni dan Drama film (Yogyakarta) - all of which are Java. Fortunately, the emergence of Teater Satu opened the way to groups outside the island to sign their names on the theater scene.
The members of Teater performance Satu in Visa (Goenawan Mohamad)
Apart from their attempt to transform the nation and its people Teater Satu also managed to change the lives of its own 20 members, who went to have any prior experience in theater to become professional artists. Gandi Maulana, for example, revealed that his trip Teater Satu earned him the opportunity to become both an actor and a teacher. Others who take jobs in the work of the arts sector as management staff, administrators and even lighting designers.
But more importantly, these people learn the values of the learning process they may not have received other formal institutions:
"Teater Satu taught me that learning is knowing when to use your mind, body and feelings in the right time. They can not be mixed completely, "said Surya Aliman, who recently graduated from a dance school.
In pledged to achieve social change, Teater Satu has not only made their mark in the history of Indonesian theater, but will certainly leave a permanent for many years to come. Prepare Indonesia, new future theater has finally arrived.
For more information, please visit www.teatersatu.org or their page Teater Satu Lampung .