Martial art-acting in dictatorial Indonesia: Antigone (1974) and Lysistrata (1975) directed by W. S. Rendra

Abstract

W. S. Rendra, the most prominent director-pedagogue in Indonesian theatre of the dictatorial era, staged Sophocles’ Antigone in 1974 and Aristophanes’ Lysistrata a year later. Clear cases of political provocation against the authoritarian regime, these productions confirmed his Bengkel Teater (Workshop Theatre) as one of the most disruptive, prolific and admired ensembles of the years of socio-political turmoil. Although the Chinese community was undergoing significant discrimination at the time, Rendra connected with a specific Sino-Indonesian martial art, siauw lim pek ho pay, or Bangau Putih (White Crane) silat. Its founder, Suhu Subur Rahardja, was a vital reference point for Rendra’s personal development while Suhu’s martial art became a powerful tool for actor training and provided a crucial contribution for the Bengkel Teater. This article investigates the different forms which martial art-acting took in the work of Rendra’s group in training, performing, in its pedagogic approach and in its community outreach. The article provides some basics about Rendra, Indonesia’s historical, political and cultural contexts, as well as silat. It also collates press releases from 1974 to 1975 with interviews with Fajar Suharno, a senior Bengkel Teater performer. It concludes by pointing out some similarities between Rendra’s approach and that of other theatre director-pedagogues and educators of the last century.