Buku Acara Bomb 3

Thanks to :

THE JAKARTA INSTITUTE OF ART

Performance of BOMB BOMB BOMB Inspired Bom Short Story, written by Putu Wijaya

by the Theatre Study Program of the Performing Arts Faculty of the Jakarta Institute of Arts

at the 19th International Festival of Theatre Schools, Istropolitana Project, Bratislava – Slovakia

Producer : Egy MassadiahDirector : Yayu AW Unru

Theatre Study Program of the Faculty of the Performing Arts of the Jakarta Institute of the Arts has played significant role in creating performing arts' artists in Indonesia and has helped improve public appreciation both through diverse performances in national and world-class stages and through scores of appreciative programs in television media. As the other forms of arts, the development of theatre faces the ups and downs. In the 70s to the early 90s theatre had reached its highest achievement and became the prima donna of the performances held at the Jakarta Arts Centre which attracted many arts enthusiasts. Now in the 21st century theatre program has once again enjoyed its good days. Amidst this latest development, the Theatre Study Program of the Faculty of Performing Arts of the Jakarta Institute of the Arts incessantly endeavours to present regular good performances consistently. This program also has worked seriously to produce quality theatre performances that surely will improve the appreciation for arts and good understanding on issues in real life.

In this wonderful occasion, the Theatre Study Program of the Faculty of Performing Arts of the Jakarta Institute of the Arts will present a piece titled BOMB written by Putu Wijaya, Indonesian renowned literary figure cum director at the 19th International Festival of Theatre Schools, Istropolitana Project, Bratislava – Slovakia. In the middle of bombs terror and present political condition, hopefully BOMB will be able to offer aesthetic feeling and understanding of living together in peace which has become more and more difficult to do. The Jakarta Institute of the Arts undoubtedly will always provide supports and is proud of the consistent and continuous efforts of the Theatre Study Program of the Faculty of Performing Arts to give their very best for the arts community both in national and international forum. The Jakarta Institute of the Arts extends its appreciation and wishes this group to have successful performance. We also would like to thank the sponsors and all parties that have support us to show great achievements through hard work over the years. Whole heartedly we wish that this performance will bring about shared valuable experiences.

Dr. Wagiono Sunarto, M. ScRector The Jakarta of Institut of Art

RECTOR THE JAKARTA OF INSTITUT OF ART

For this special event of the 19th International Festival of Theatre Schools, Istropolitana Project, the Theatre Study Program, Faculty of Performing Arts, the Jakarta Institute of Arts, proudly presents a pantomime theatre work inspired on a short story BOMB written by Putu Wijaya, a renowned Indonesian writer, and directed by Yayu AW Unru. This work hopefully will extend significant communication to international theatre community. Our hope is that the participation of Theatre Study Program of the Jakarta Institute of the Arts in the 19th INTERNATIONAL FESTIVAL OF THEATER SCHOOLS, ISTROPOLITANA PROJECT, will be able to maintain and strengthen the spirit of all the academic staff to keep working hard in order to develop this study program at the Jakarta Institute of the Arts. We, of course, also hope that this work of pantomime theatre titled BOMB will contribute to this country that has been suffering from endless “Bombs”. I would like to express gratitude to the Festival committee, the Rectorate of the Jakarta Institute of the Arts, donors, sponsors and all parties who have contributed for this wonderful piece of art.

Bejo SulaktonoTheatre Study Program Head

Faculty of Performing ArtsThe Jakarta Institute of the Arts

THEATRE STUDY PROGRAM HEAD

HLAVNÝ PROGRAMPiatok 22.6. 2012/Jumat 22.6.2012 14:00 Malá scéna STU Eugène Ionesco / Lekcia Akadémia hudby, divadla a výtvanrých umení / Kišinev/Moldavsko17:00 Divadlo Lab Azzedine Hakka / Telá a duše Univerzita Saint Denis / Paríž/Francúzsko Sobota 23.6. 2012/Sabtu 23.6.2012 12:30 Divadlo Lab Heinrich von Kleist / Princ Homburský Janáčková akadémia múzických umení v Brne / Brno/Česká republika14:30 Malá scéna STU Peđa Gvozdić / Traja bratia Akadémia umení v Osijeku / Osijek/Chorvátsko17:00 Astorka Korzo ´90 Christopher Marlowe a kol. / Masaker v Paríži Akadémia múzických umení v Prahe / Praha/Česká republika 20:00 Štúdio SND Marco Cupellari / Túžba Škola - divadlo Dimitri / Verscio/Švajčiarsko Nedeľa 24.6. 2012/Minggu 24.6.2012 14:00 Štúdio SND Kolektív autorov / Orfeus alebo vráť sa do svojho pekla, človek Divadlo - laboratórium "Alma Alter" / Sofia/Bulharsko16:00 Malá scéna STU Dea Loher / Posledný oheň Akadémia umení v Banskej Bystrici / Banská Bystrica/Slovensko

21:00 Astorka Korzo ´90 Bruno Schulz / Stránky z knihy... Vysoká škola dramatických umení Rose Bruford / Londýn/Veľká Británia

19:00 Divadlo Lab Putu Wijaya Bumbumbum Producer : Egy Massadiah Director : Yayu AW Unru Inštitút umení v Jakarte Jakarta Indonézia

HLAVNÝ PROGRAMPondelok 25.6. 2012/Senin 25.6. 2012 13:00 Divadlo Lab Andrzej Stasiuk / Supermarket a národná modla Akadémia divadelných postupov "Gardzienice" / Lublin/Poľsko16:00 Malá scéna STU Daniil I. Charms / Prípad D. Ch. Fakulta dramatických umení v Skopje / Skopje/Macedónsko19:00 Štúdio SND Kolektív autorov / Sivá mozgová kôra. Hra pre šesť mozgov. Centrálna škola javiskovej reči a divadelného umenia / Londýn/Veľká Británia21:00 Divadlo Lab Bertolt Brecht / Žobrácka opera Štátna divadelná vysoká škola Ludwika Solskieho v Krakove / Krakov/PoľskoUtorok 26.6. 2012/Selasa 26.6. 2012 13:00 Divadlo Lab Sławomir Mrożek / Zábava Divadelná akadémia Aleksandra Zelwerowicza vo Varšave / Varšava/Poľsko14:30 Astorka Korzo '90 Samuel Beckett / Koniec hry Vysoká škola dramatického umenia v Malage / Malaga /Španielsko17:00 MDPOH Henrik Ibsen, Georg Büchner / Ne-poslušnosť Vysoká škola múzických umení Felixa Mendelssonna Bartholdyho /Lipsko/ Nemecko20:00 Divadlo Lab Fjodor M. Dostojevskij / Bratia Karamazovci Litovská akadémia hudby a divadla / Vilnius/LitvaStreda 27.6. 2012/Rabu 27.6. 2012 13:00 Divadlo Lab Matei Vişniec / Žena ako bojisko vo vojne v Bosne Univerzita Luciana Blagu v Sibiu / Sibiu/Rumunsko15:00 MDPOH Anton P. Čechov / Medvedia hra Divadelná skupina SINA / Teherán/Irán17:30 Štúdio SND Fabio Omodei / Poprava Divadelná akadémia Sofie Amendoley v Ríme / Rím/Taliansko20:00 Divadlo Lab Alexander N. Ostrovskij / Výnosné miesto Vysoká škola múzických umení v Bratislave / Bratislava/Slovensko

ISTROPOLITANA PROJECT 201222. – 27. 6. 2012www.vsmu.sk

Theatre Lab DF VŠMU, Svoradova 4, Bratislava; www.divadlolab.sk

Studio SND, Pribinova 17, Bratislava, www.snd.sk

Theatre Astorka Korzo´90, Nám. SNP 33, Bratislava, www.astorka.sk

City theatre P. O. Hviezdoslava, Laurinská 19,Bratislava,www.mestskedivadlo.sk

Small scene STU, Dostojevského rad 7, Bratislava, www.malascena.sk

About Festival Festival Istropolitana Project is absolutely unique among all festivals in the Middle Europe and provides a special opportunity for young theater artists to be involved in an international confrontation of their work, opinion and production. It creates space for future theater professionals to meet with eminent theatre scholars, their audience and their colleagues.Project takes place every second year and provides continuous mutual confrontation between young artists and broad audience. The festival with its competition part is significant event in the context of Slovak culture and theater education system in the Middle-European region and is the only one of its kind within Slovakia.The project’s target is to hold a creative meeting of the youngest generation of theater artists from national and international schools and to present various approaches and poetics towards theater staging and interpretation.History Every second year since 1977 Theater Faculty of The Academy of Performing Arts has organized an international festival of theater schools called Istropolitana Project. This time it is the 18th year of the festival. During its history there have been over 84 schools presented from all around the world, such as Israel, USA, Germany, Poland, Czech Republic, Switzerland, Hungary, Italy, China, India, Russia, Spain, Indonesia, Iran and many others. Over 200 great performances have taken place at the festival. Festival helped to start a career of some famous artists, such s Buz Luhrmann (director of the movie Romeo and Julliet, Moulin Rouge)...

SYPNOSIS

Where the story goes ... BOMB BOMB BOMB

A crowd is imprisoned in an urban space alienationThe tortures brought about by communication blockageHave pushed them to go back to their childhood, but all are in vainAs what they truly wish for is the perfect sound of bomb.

Give me a lot of uproars... Because if it is just one or five uproars It would end up in vain for me.Send me a night fair as a gift …Because without its flickering glare,It would not possible for me to enjoy my siesta Send me hubbub... Because without noise,It would be impossible for me to dream about the bitterness of solitude.

Idea / Theme

The condition of the urban community who have to endure such a terrible pressure due to competition is so likely to be the reason why they have become completely individualistic. This has resulted in the alienation from each other and may even alienate oneself. This is the theme and idea on which in the work of “Bomb Bomb Bomb” – a pantomime theatre performance – is based.

We often find, however, that the dialogue is created only for the pursuit of musical sound effect than to make it worth a verbal dialogue.

As my earlier works, this work also takes non-linear kind of narratives. The story is developed by actualizing each and every idea into a situational sketch. Sketch by sketch is deliberately not developed according to a narrative logic; each of them is let free to be present naturally so that the whole work would be a collage of a number of situational sketches.

The characters in this work are consciously constructed to avoid a fixed character; the characters are not permanent. As a result, in certain situation an antagonist character can become protagonist or vice versa. One thing which is possibly seen as an extreme thing to do is that the characters arbitrarily can totally be transformed and become just a situation so that it deceives and rips the audience's imagination. It should be clear that such thing is not done unconsciously, but it is consciously constructed to turn the rigidity of standard narrative model of a performance – often it loses its elements of surprise -- into something more dynamic. For that reason, such way of interpreting performance is better to be placed in analogy with poetry reading rather than with prose reading. However, this model of creation is indeed not meant to be losing its communicative function. As it is with poetry, this kind of performance is an expression of art that has its own way of communicating messages.

Actualization of ideas as the backbone of this creation entirely is the result of the social unsteadiness around us. It is shaped into a situational sketch which is expressed in a form of theatre in the framework of strong flavour of comedy in a pantomime spirit. The pantomime pattern here is unique and interesting because its comedy structure has boundless imagination. Other than that, it is even able to reach the fantasy that can be found through cartoons. About the dialog which is so limitedly created, although contradictory to the general pantomime pattern, this is recognized as a creative breakthrough in breaking down the wall between the theatre's conformity in general and the conventionality of the pantomime. Such reason is also based on some logical considerations. The recognition of such story presentation in this kind of performing work, for instance, often requires that the idea to be conveyed should be easy to digest by the audience so that the use of words is inevitable.

CREATIVE PROCESS

At this point, the calculation of melody and timing in the process of creating and placing dialogue should get sufficient attention in order to avoid getting caught up in a drama of excessive words or otherwise in which the realization of the story is not stuck in the pattern of silent drama which is full of sign language. With such creation models, a practice process is indeed a key activity. As a result, the place where practices will be taken place should be paid serious attention. For me, of course, the place for practice where creative process takes place is everything. This is a acceptable balance of the fact that I don't use any real script in the practices as the conventional theatres use that is highly likely to rely so much on script. This means that the absence of formal script has made the place to practice and the existence of actors very important.

Maximization of the entire creative process starting from revealing ideas, searching forms, achieving final results to shaping an ideal performance, all of those processes are the results of exploration at the practice venue. Automatically, the awareness to maintain and respect the practice venue to always have creative and insipirative atmosphere becomes the foundation that should be established together to allow the achievement of creative target in every practice. It is worth realizing that the foundation of a work of this kind is how ideas are actualized through acting effectiveness in articulating feeling of emotion and appreciation through all the devices owned by the actors as the media of expression. That is the reason why physical training must be the basic activity done by the actors to the point that they are able to believe in their ability to get to the expected expression. And it's also during this process of physical training that the creation takes place. When the actors warm up, I was allowed to enjoy a space just for me to figure out their characters in particular casting framework found in the basic idea. This basic idea will develop from the genuineness and totality of the actors in making theirselves effective throughout the practices. Reducing the ego to the possible minimum and the conviction to what is meant in the idea through my direction as director and the cooperation between actors in interpreting the real idea is a wisdom that is expected present in each and every actor. For that reason, it becomes clear that intelligence and openness of the actors during the practice period will be key to pave the way to the target of ideal performance to be achieved.

Observing such a process often creates an impression that improvisation can play a very important role. Although to some extent it is true, such impression has also some flaws. Improvisation in a creative process, I emphasize, only possible at the beginning of the exercise. It is only a part of the whole process which is allowed to happen naturally so that a creative process can reach spontaneous situations and have inspiring surprises. The entire process is carried out consciously to develop the idea to reach its maturity stage. As soon as the process is patterned as expected in the idea, improvisation will be forbidden.

Yayu AW Unru

Egy Massadiah/ ProducerBorn in Bugis Land, South Sulawesi . He was a journalist in several media. Joining Teater Mandiri Putu Wijaya, he had performed in Singapore, New York, LA, Tokyo, Hong Kong, Cairo, Ceko, Bratislava and so forth. He has acted in some TV programs and movies; Lari dari Blora is one of the movie he has produced. His philosophy is “departed from the existing”; struggling in the mud, sweating, in every lack and hard times is not hard for him. He believes that behind every difficulty and misfortune there

are always promises and hopes. And based on such belief, he believes that a theater community is not just a playground and meeting point, but it's a place to sharpen and to forge people to become independent, discipline, have sense of directions and understand how to work as a team.

Bejo Sulaktono/ Head Of TheatreHe was born in Jakarta on the 2nd November 1967. He was a Director of the Lembaga Theatre of the Jakarta Institute of Arts. He joined Sena Didi Mime Pantomime Group when he studied at the Theater Department and was awarded the best director in Indonesia Arts Students Theater Festival. He is a several time-winner for the best reader category at Poetry Reading and Betawi Short Stories Festival. At the moment he is the Theater Department Head of the Jakarta Institute of the Arts. Besides working actively in theater world, he's also for TV Movie.

Yayu Aw Unru/ DirectorHe was born in Makassar on the 4th of June, 1962. He has learned so much about pantomime from Sena A. Utoyo, Didi Petet, Pramana PMD, Elizabeth Zeki. In 1989 he received a stipend from Goethe Institute and attended the pantomime class given by Prof. Milan Sladek in Essen, Germany. He player and assistant director for Sena Didi Mime Theatre Pantomime Group, and since 12 years ago, he has been a director with Didi Petet. Since 1990 , he often appeared in stage s a broad in Geneva,

Switzerland ( 1988); with Bona Ni Ogung in Germany ( 1998); with Cilay Dance Theatre he was invited to Festival Dunya in Rotterdam, Hollan d and at the Hannover Expo in Germany (2000); director for a cultural mission to A sian Pacific Film Festival, and did a show in Hanoi, Vietnam ( 2001); directed “Broom in Hand” which was staged at Istropolitana Project 2010 (Bratislava-Slovakia) and played on Jakarta-Berlin Art Festival 2011. He also teaches at the Jakarta Institut e o f the Arts and serves as a acting coach for many films.

Stella Pellupesy / PlayerShe was born in Ambon on the 17th of December 1990. She became student of the Theatre Department of the Jakarta Institute of the Art class of 2009. She joined several theatre performances with Q, Mei Theatre Company, and Aristocrat Theatre. Participating in the Festival of Theatre Schools, Istropolitana Project is her first experience.

Aprial Hasfa / Supporting ManagementHe was born in Soppeng, South Sulawesi in 1965. Since childhood he was active in theater starting from junior high school, senior high school and in college. He is a founder of Lato Baja Theatre at Senior High School in Soppeng. For a number of times he had participated in theater festivals in Daeng Makassar, South Sulawesi. He has been an active member of PARFI and PWI DKI since 2004–present. He joins the BOMB Theatre performance in Shanghai 2011.

Veronita / Make Up / Secretary She was born in Jakarta on the 16th of November 1985. She's a student at Magister Degree at the Postgraduate School of the Jakarta Institute of the Arts class of 2010. Since 2008 she has been active producing several plays with PeqhoTheatre and the theatre of the Jakarta Institute of Arts. She works as make-up and costume artist for stage and wedding organizer. She also support Bomb in Shanghai festival 2011

Arphan Romadhon / Player / LightingBorn in Surakarta, April 14th, 1988. He knows arts and theatre since he collage in Jakarta Institute of Arts, Department Theater 2006. He also working some project performance in Jakarta and the last project name “Lutung Kasarung” Director Didi Petet Performance at Bandung and Jakarta. Until now he still active and love theater.

Boy Idrus / PlayerBorn in Jakarta on June 16, 1981, he completed his Diploma for acting in Theatre Department in 2006. He has been active working as an actor in TV programs such as “Sketsa” of Trans TV and film titled Titik Hitam, 30 Hari Mencari Cinta, Detik Terakhir, etc. He also joined Sena Didi Mime pantomime performance titled “Kantung Plastik”.

Yamin Fajri He was born in Tasikmalaya on 16th of June 1985. He loves arts so much since he was just a little boy; and that was the reason why he had joined the Theater Department of the Jakarta Institute of the Arts class of 2005. He is so interested in pantomime and Sundanese traditional arts such as angklung, a traditional Sundanese instrument. He has been acting for several plays; one of them was “Ich Mochte in Ciliwung Wiedern Schwimmen” directed by Prof. Milan Sladek. He also joined the

Sabilulungan Mime group and acted in a number of TV programs.

/ Stage Manager

Yehuda Gabriel / MusicBorn in Pondok Gede, Jakarta on the 10th of August, 1986, he was active as a writer, music maker, acting coach and actor for Sena Didi Mime. His latest work was participating in the performance of Broom in Hand (a pantomime theatre piece which was directed by Yayu A.W. Unru) at the Jakarta-Berlin Art Festival and stages on a road tour in Java.

Petrus Kaliman / Supporting ManagementPeter Kaliman is Alumnus of the University of Indonesia. Currently providing training and coaching in various companies and universities such as: Catur Adiprana Sentosa Tbk, HP Computer, Imperial Golf Karawaci, 4Life Indonesia, NuSkin Indonesia, Mitra 10 Superstore, Binus & Mercubuana University, etc., In staging this time, Peter was “on duty” as a production advisor.

Asbar Atma / He was born in Makassar on May 31th, 1979. He was active in a number of organizations since high school. Studied at the Faculty of Engineering UMI Makassar has shaped his personality; he is energetic and independent. He held various strategic positions when he was still in collage such as member of Student Senate, active member of youth organizations like AMPI and KNPI. He received his master degree at the University of Mercu Buana, Jakarta. He also Joining in Bomb Performance in Shanghai 2011

Supporting Management

Ribka Silitonga / CostumBorn in Jakarta, June 16th, 1981. Finished Diploma for acting in Theatre Department in 2006. Active as an actor in TV program “Sketsa” Trans TV and Film “Titik Hitam”, “30 Hari Mencari Cinta”, “Detik Terakhir”, etc. She also had joined Sena Didi Mime pantomime in “Kantung Plastik”.

Kameo Lova / Stage ManagerBorn in Dumai on the 22th of March 1986. He studied at the Jakarta Institute of Arts in 2004-2008. He has been an Actor for Sena Didi Mime Indonesia since 2004. He acted in the performance of "Don Juan " and “ I WISH TO SWIM AGAIN IN CILIWUNG “ written and directed by Prof. Milan Sladek which was staged at Jakarta Art of Hall and at Goethe Institute, Indonesia. He also acted for Sena Didi Mime Indonesia when they staged “Broom in Hand” at the event of 2011 Jakarta-Berlin Art Festival in

Berlin, Germany, a written and directed by Yayu AW Unru. He has also done some TV advertisements.

Beni Ober Siagian / Artistic / PlayerBorn in Jakarta on 29th of October 1986. Until now he is still an

active student of the Jakarta Institute of the Arts. He has worked actively for the artistic design for some stage productions. His reason

to be involved with the theater world is to find the real spirit and become a smart actor both on stage and in real life.

INDONESIA

PANITIA DI JAKARTA

Penasehat : Ucok R Siregar Robinsar H Simanjuntak Hestu Wreda

Ketua : Indra HeryantoWakil Ketua : Satria Agustani Saputra

Edi SaputraStage Manager : Achoy BangedStage Crew : Zhauku Zaki (Kordinator) Geovany Pratama Richard Kalipung Andi Baso Machmud Damar Rizal Marzuki Farie Judhistira Anneke Kartika SariKonsumsi : Eva Yunita

Aryo Nagoro Redi Dwinata

Lighting : Rico SAF Yusup Ucup

Dok. Video : Novan Trijaya Seriputra Dok. Foto : Dzikrurohman

Sound /Slide : Eric Indriarto Syaputra Ramadhan Aidil Eka Putra

Penerima Tamu : Deddy hendrawan Aryanti (kordinator)(S)

Tri Octafianti Annisa Fitria Sheila Octarina Lutfiasari

Perfoming Art : Cik'im Delila Vassilisa Michelle Sinambela Immanuel Partogi Ivy Chininta Budianty Dwi Yuniarti Widiyashara Septyantini Andi Baso Machmud

Muhammad Amirruddin Richard Dilian Kalipung Farie Judhistira Damar Rizal Marzuki Emia MentariDesain Grafis : Indira Mulyawan

Kementerian Pariwisata dan Ekonomi Kreatif Republik Indonesiawww.budpar.go.id

Kementerian Pendidikan Nasional

www.kemdiknas.go.id

Thanks To

Ibu Mari Elka Pangestu, Bapak Ibnu Munzir, DPR - RIBapak Gusti Iskandar, DPR - RIBapak Emil Abeng, DPR - RIBapak Syamsul Bachrie, DPR - RIBapak Gde Sumarjaya Linggih, DPR - RI

Bapak Muhamad Nuh, Kementerian Pendidikan Dan KebudayaanIbu Wiendu Nuryanti, Wamen Kebudayaan KemdiknasIbu Karen Agustiawan, Direktur Utama PertaminaIbu Mien R Uno, MRUF FoundationsBapak Iskandar MandjiBapak Marsekal Madya Purn Basri SidehabiBapak Marsekal Muda Purn Pieter WatimenaBapak Muchlis Patanha, KKSS PusatBapak Ir. Riscal Pasombo, MTBapak.H Nurjaya - Ketua BPW KKSS Prov. Papua BaratBapak Budi Darmadi, Dirjen Industri Unggulan Berbasis Teknologi KemenprinBapak Ade RafidinBapak Ahmad SolikhinBapak Marwan SetiawanBapak Muhammad SuhermanIbu Juju Masunah, Direktur Pengembangan Seni Pertunjukan dan Industri Musik Kementerian Pariwisata dan Ekonomi Kreatif.

Kementerian Pariwisata dan Ekonomi Kreatif

Bapak Aditya Moha, DPR-RIBapak Bobby A Rizaldi, DPR-RIBapak H.M Bakrie, DPR-RIBapak H.M Djafar Hafsah, DPR-RIIbu Yani Maryam, DPR-RIIbu Oelfah Hermanto, DPR-RIBapak Markus Nari, DPR-RIBapak Zulkarnaen Djabar, DPR - RIBapak Airlangga Hartarto, DPR - RI

Thanks to :

www.budpar.go.id

Thanks To :

www.teaterfsp-ikj.comemail : [email protected] THE JAKARTA INSTITUTE OF ART