YOGYAKARTA-In every performance that comes from adaptations text, intercultural process will occur. Intercultural process in a stage performance is used by leader of Studiklub Teater Bandung (STB), Anirun, and his successor, Sanjaya, as one way to approach the stage and the audience. This method has long been adopted by the STB and is considered successful to make the audience familiar with the foreign manuscript. Script originating from other cultures is adapted and adjusted to the target culture so as to produce a new stage performance.
"Unlike the intercultural theater in Europe or in the West where generally it is assumed that this is a new principle in the staging, the performing arts in Indonesia have done this method for a long time," said Lina Meilinawati Rahayu, S.S, M. Hum., in her doctoral examination at the UGM Graduate School on Monday (21/3). On the occasion, Lina maintained her dissertation entitled Transformation in Performance of Adaptations’ Drama Scripts: A Case Study of Theatre Studiklub Bandung (STB).
Lina added that the condition is different from intercultural theater in Europe or the West because the culture of Indonesia is very heterogeneous; in addition Indonesia had once been a colony for a long time. Heterogeneity and colonialism made culture borrowing as something that is reasonable and natural. "This happened because of the very close inter-twine of various cultures, thus unaware of the borrowing of other’s culture," said the Indonesian Literature Department lecturer of Padjadjaran University (Unpad).
At each STB performance, interculture really weigh in the local culture. This is because the performance requires the audience and the audience’s understanding of the performance just takes a moment. Therefore, the selection of local culture is one of the strategies to bring the stage and audience closer.
Furthermore, in her dissertation Lina also explained that STB performances are included in realist school. STB’s realist style more often cannot describe the incredible accuracy of the representation, but in almost every performance it always tries to depict events as real as possible. This still can be identified in realist Style Theater although the STB has its own way of presenting the reality on stage.
“STB’s realism may be regarded as local realism," said the lady who was born in Bandung, May 31, 1970.
In her dissertation, it is mentioned that the transformation with the principles of intercultural in realist appearance is still maintained until now. These are one way to bring in viewers. Transformation, intercultural, and realists are three things which in principle allow the audience to understand the stage.
STB interculture , said Lina, stands with the local culture, while the STB’s realism style is as close as possible to the reality.
"With the transformation, intercultural and the realist principle STB manages to survive and "imprison" the audience up to this day," Lina explained.
After undergoing the dissertation examination in the presence of the team of examiners, namely Prof. Dr. C. Soebakdi Soemanto, S.U, Prof. Dr. R.M. Soedarsono, Prof. Jakob Sumardjo, Prof. Dr. Yudiaryani, M.A, Prof. Dr. Hartono, DEA., DESS. and Dr. G. R. Lono Lastoro Simatupang, M.A., Lina finally managed to graduate with honors. With Lina’s success she became the 1354th doctorate who graduated from UGM.
As is known, the STB started its performances by translating and adapting foreign texts, such as Uncle Vanya of Chekov, Karto Loewak of Ben Johnson, Tetiron the Physician of Moliere, etc. Almost every STB’s performance uses the translation script and adaptation script. Foreign scripts in general have also been performed numerous times. In the development course of Indonesian modern theater, the STB also contributes significant role. Since its establishment in 1958, it remains active until now.
The STB cannot be separated from one of the founders, Anirun. Compared to some other founders, under Anirun’s leadership, STB's name is quite prominent. This is because Anirun actively participates in every performance of the STB, either as player or director, although in the end he prefered to be the director. He became director in almost every STB’s performance, except at the early days of the STB, the directing was done together with Jim Lim.