KOLEKSI BUKU TEATER

KOLEKSI BUKU TENTANG TEATER DAN DRAMA

1. A. Rumadi (Ed.), 1991. Kumpulan Drama Remaja. Jakarta : Grasindo

2. Ags. Arya Dipayana (Ed.), t.t. Warisan Roedjito : Sang Maestro Tata Panggung Perihal Teater dan Sejumlah Aspeknya. Jakarta : Dewan Kesenian Jakarta

3. Ahmad, A. Kasim, 1977. Sebuah Pengantar tentang Teater Tradisional di Indonesia. Majalah Budaya Jaya No. 114 Tahun Kesepuluh—Nopember 1977

4. Artaud, Antonin, 2009. Teater dan Kembarannya. Terjemahan Max Arifin. Surabaya : Dewan Kesenian Jawa Timur

5. Atmazaki, dan WS, Hasanuddin, 1990. Pembacaan Karya Susastra sebagai suatu Seni Pertunjukan. Padang : Angkasa Raya

6. Berger, Arthur Asa, 2000. Signs in Contemporary Culture : An Introduction to Semiotics, terjemahan M. Dwi Marianto, Sunarto Tanda-tanda dalam Kebudayaan Kontemporer.. Yogyakarta : Tiara Wacana

7. Brook, Peter, 2002. Shifting Point (Percikan Pemikiran tentang Teater, Film, dan Opera). Yogyakarta : MSPI dan arti

8. Danandjaja, James, 1997. Folklor Indonesia : Ilmu Gosip, Dongeng, dan lain-lain. Jakarta : Grafiti

9. Grotowski, Jerzy, 2002. Toward Poor Theatre (Menuju Teater Miskin). Yogyakarta : MSPI dan arti

10. Hadi, Wisran, 1997. Naskah Drama Indonesia Akhir Abad 20 dalam Perspektif Sejarahnya dalam Panorama Sastra Indonesia Dewan Kesenian Sumatera Barat dan Dewan Kesenian Jakarta. Jakarta : Balai Pustaka

11. Haryono, Edi (Ed.), 2000. Rendra dan Teater Modern Indonesia : Kajian Memahami Rendra Melalui Kritikus Seni. Yogyakarta : Kepel Press

12. Junus, Umar, 1981. Mitos dan Komunikasi. Jakarta : Sinar Harapan

13. Junaedhie, Moha, 1994. Apresiasi Sastra. Ujungpandang : Badan Penerbit IKIP Ujungpandang

14. Kartakusuma, Muh. Rustandi, 1977. Menjajagi Teater Tradisional Menuju Teater Indonesia. Majalah Budaya Jaya No. 114 Tahun Kesepuluh—November 1977

15. K.M., Saini, 1993. Dramawan dan Karyanya. Bandung : Angkasa

16. …………..,1994. Budaya Teater dalam Seni Pertunjukan Indonesia. Jurnal Masyarakat Seni Pertunjukan Indonesia. Jakarta : MSPI dan Gramedia

17. Koentjaraningrat, 2002. Manusia dan Kebudayaan di Indonesia. Jakarta : Djambatan

18. Lubis, Mochtar, 2001. Manusia Indonesia. Jakarta : Yayasan Obor Indonesia

19. Mitter, Shomit, 2002. Stanilavsky, Brecht, Grotowski, Brook : Sistem Pelatihan Lakon. Yogyakarta : MSPI dan arti

20. Mohamad, Goenawan, 1980. Seks, Sastra, Kita. Jakarta : Sinar Harapan

21. Moody, H.L.B., 1993. The Teaching of Literatur, saduran bebas B. Rahmanto Metode Pengajaran Sastra. Yogyakarta: Kanisius

22. Neelands, Jonathan, 1993. Making Sense of Drama, saduran bebas Dean Praty Rahayuningsih Pendidikan Drama : Pedoman Mengajarkan Drama. Semarang : Dahara Prize

23. Noer, Arifin C., 2005. Teater Tanpa Masa Silam. Jakarta : Dewan Kesenian Jakarta

24. Pugmire, Neil, 2006. 50 Ide Drama untuk Memeriahkan Berbagai Acara. Yogyakarta : Andi

25. RMA. Harymawan, 1993. Dramaturgi. Bandung : Remadja Rosdakarya

26. Rendra, 1984. Mempertimbangkan Tradisi. Jakarta : Gramedia

27. ……………, t.t. Tentang Bermain Drama. Jakarta : Pustaka Jaya

28. ........................., 2007. Seni Drama untuk Remaja. Jakarta : Burung Merak Press

29. Riantiarno, N, 2003. Menyentuh Teater : Tanya Jawab Seputar Teater Kita. Jakarta : PT HM Sampoerna Tbk

30. San, Suyadi, 2004. Telaah Drama : Konsep Teori dan Kajian. Medan : Sanggar GENERASI dan Harian Mimbar Umum

31. Satoto, Soediro, 1994. Teater sebagai Sistem Tanda dalam Seni Pertunjukan Indonesia. Jurnal Masyarakat Seni Pertunjukan Indonesia. Jakarta : MSPI dan Gramedia

32. Sikana, Mana, 1990. Drama Penantian. Darul Ehsan, Selangor, Malaysia : Karyawan

33. Siregar, Ahmad Samin dkk, 1985. Kamus Istilah Drama. Jakarta : Pusat Pembinaan dan Pengembangan Bahasa Depdikbud RI

34. Sitorus, Eka D, 2002. The Art of Acting : Seni Peran untuk Teater, Film, dan TV . Jakarta : Gramedia

35. Sondari, Koko, dan MT, Wahdat, 2001. Ubrug (Teater Rakyat Banten). Jakarta : Proyek Pengembangan Media Kebudayaan Dirjen Kebudayaan Depdikbud RI

36. Stanislavski, 2007. Persiapan Seorang Aktor. Jakarta : Sanggar Pelakon

37. ...................., Constantin, 2008. Membangun Tokoh. Jakarta : Kepustakaan Populer Gramedia

38. Suharianto, S, 1982. Berkenalan dengan Cipta Seni. Semarang : Mutiara Permata Widya

39. Sulastianto, Harry, dkk., 2006. Seni Budaya untuk Kelas X dan XI Sekolah Menengah Atas. Bandung: Grafindo Media Pratama

40. Sumardjo, Jacob, 1993. Ikhtisar Sejarah Teater Barat. Bandung : Angkasa

41. …………………., 1992 Perkembangan Teater Modern dan Sastra Drama Indonesia. Bandung: Citra Aditya Bakti

42. …………………, dan K.M., Saini, 1988. Apresiasi Kesusasteraan. Jakarta : Gramedia

43. Supriyanto, Henri, 1980. Pengantar Studi Teater untuk SMA. Malang : Lembaga Penerbitan Universitas Brawijaya

44. Tjahjono, L. Tengsoe, 2005. Menembus Kabut Puisi. Malang : Dioma

45. TWH, Muhamad, 1992. Sejarah Teater dan Film Sumatera Utara. Medan : Yayasan Pelestarian Fakta Perjuangan Kemerdekaan RI

46. Waluyo, Herman J, 2003. Drama : Teori dan Pengajarannya. Yogyakarta : Hanindita

47. Wijaya, Putu, 2009. Teater : Buku Pelajaran Seni Budaya. Jakarta : Lembaga Pendidikan Seni Nusantara

48. Wiyanto, Asul, 2005. Kesusastraan Sekolah : Penunjang Pembelajaran Bahasa Indonesia SMP dan SMA. Jakarta : Grasindo

49. WS., Hasanuddin, 1996. Drama : Karya dalam Dua Dimensi. Bandung : Angkasa

Desain Tiket dan Spanduk "Cublis"

Brosur Pertunjukan "Cublis"

Desain Tiket "Indonesia Undercover #reload for 2"

BROSUR PEMENTASAN INDONESIA UNDERCOVER #reload for 2

Generation Theater turn up

Generation Theater turn up, too. The night of November 25, 2009, Suyadi San repotoar served as a director who is known world. Romeo and Yiluet. The story of love until the death of Romeo and Yuliet. The story of the tragedy that was the right movie was actually the work of major artists from England SakesPiere. But that night, it was a classic story into a funny spectacle, too tragic. Yuliet who ate poison that can make him a dead faint, making Romeo actually follow Yuliet death. Romeo drank the poison.
That night, the audience did not enjoy the story of Romeo and Yuliet dramatic. Suyadi San as a director has been picked up this classic story with style popey, trying to be funny and a caricature spices. The players are too forced myself to be funny in front of audiences. Slippage Romeo and Yuliet almost failed when it could not play Romeo caricature. Appearance is actually quite sweet, comes with a ketprakan style with costum in dressing lihttp://teaterimago.blogspot.com/. ke a westerner. Theater Generation successfully melencengkan story became a story comedy classic.

sumber : http://teaterimago.blogspot.com/. Kamis, 26 November 2009

Seni: Teater di Sumatera Lebih Berkembang

Lampung Post, Selasa, 13 Januari 2009

BANDAR LAMPUNG (Lampost): Perkembangan komunitas teater perempuan di Sumatera lebih cepat dibanding dengan Jawa. Komunitas teater perempuan di Pulau Sumatera juga dinilai lebih berani dalam menyampaikan tema tentang perempuan. Hal tersebut disampaikan Kepala Operasional Kala Sumatera Imas Sobariah, Senin (12-1), usai L:kakarya Panggung Perempuan se-Sumatera. Menurut Imas, komunitas teater Perempuan di Sumatera terbukti lebih berani dalam mengeksplorasi tema perempuan dibanding dengan komunitas teater di Pulau Jawa. Dengan kondisi seperti ini, kata Imas, perkembangan komunitas teater perempuan di Sumatera lebih cepat dibanding dengan Jawa. Panggung perempuan se-Sumatera diikuti 21 peserta dari 12 lembaga swadaya masyarakat (LSM) dan komunitas teater, di antaranya Teater GENERASI (Sumatera Utara), Kominitas Seni Intro (Sumatera Barat), Teater Sakata (Sumatera Barat), Teater Selembayung (Riau), Teater Oranye (Jambi), Teater Andung (Bengkulu), Teater Kurusetra (Lampung), Teater Baru (Sumatera Selatan), SPI Labuhan (Sumatera Utara), WCC Palembang, APM Merangin, dan Damar Lampung. Imas mengatakan dalam lokakarya tersebut peserta harus menyampaikan draf penulisan lakon dan penyutradaraan untuk mempertajam ide teater yang akan dipentaskan pada April mendatang. Tema teater yang disampaikan peserta, kata Imas, adalah seputar dunia perempuan dan tentang rumah tangga. Teater Satu Lampung mengadakan Lokakarya Panggung Perempuan se-Sumatera di Taman Budaya, 8--12 Januari. Dalam acara ini perwakilan dari beberapa teater di Sumatera mempresentasikan ide penulisan lakon dan penyutradaraan di hadapan para pemateri. Menurut Imas, para pembicara sangat mengapresiasi ide yang diusung komunitas teater di Sumatera. Melihat ide cerita yang disampaikan peserta, pembicara menilai perkembangan teater perempuan di Sumatera bisa lebih cepat dari teater di Jawa. Komunitas teater perempuan di Sumatera lebih berani dalam menyampaikan ide cerita. Teater yang nantinya dipentaskan antara lain berjudul Ci Apung, Emak, Sama dengan Nol, Tiga Perempuan, Koki Keluarga, Fatimah, dan Kembang Mayang. n */K-2

Teater GENERASI Gelar Syukuran

Written by Teja Purnama

Tuesday, 23 June 2009 12:21

Teater Generasi Medan pimpinan Suyadi San menggelar acara syukuran hari Ulang Tahun (HUT) ke-14 di Ruang Pameran Taman Budaya Sumatera Utara (TBSU) Medan, Minggu sore (21/6). Acara ini diisi berbagai atraksi kesenian, di antaranya monolog, musikalisasi puisi, baca puisi, baca cerpen, dan pemutaran film pendek. Suyadi San dalam siaran pernya, kemarin, menyebutkan, ada beberapa hal yang perlu disyukuri kelompok teaternya kali ini. Di antaranya, kesuksesan mengikuti gelar teater Panggung Perempuan se-Sumatera pada 25-30 April dan Jaringan Teater se-Sumatera 25-30 Mei di Lampung. "Dua kegiatan itu merupakan rangkaian program Kalasumatera yang dilaksanakan Teater Satu Lampung dan Hivos (Belanda). Untuk program ini, kami mengutus anggota mengikuti workshop dan lokakarya penyutradaraan, penulisan naskah, manajemen artistik, manajemen produksi, dan diskusi," sebut Suyadi. Hasil workshop, lokakarya, dan diskusi yang diadakan di Taman Budaya Lampung sejak November 2008 itulah, menurut Suyadi, yang dipentaskan di Medan dan Lampung. Pada Panggung Perempuana se-Sumatera, Teater Generasi mengusung lakon "Kembang Mayang" karya Hanita Karlina, sutradara Elidawani Lubis. Sedangkan Jaringan Teater se-Sumatera, teater ini mengusung monolog "Cublis" karya Hasan Al Banna, cosutradara Hasan Al Banna/M. Raudah Jambak. "Alhamdulillah. para pengamat dalam program KALASUMATERA tersebut menilai, dua penampilan Teater Generasi berhasil. Ini jadi tantangan bagi kami untuk karya-karya berikutnya," kata Suyadi. Sebelumnya, Teater Generasi menggelar monolog "Indonesia Undercover #reload for 2" karya Suyadi San, sutradara Elidawani Lubis, Selasa (7/4) di TBSU. Pergelaran ini turut disaksikan Wakil Gubernur Sumatera Utara Gatot Pudjo Nugroho, S.T., Kepala Dinas Pendidikan Drs. Bahrumsyah, dan Kepala Dinas Kebudayaan dan Pariwisata Ir. Nurlisa Ginting. Kegiatan lainnya, yakni, konser teater-puisi dan musikalisasi puisi "Tanah Hom Pim Pa" skenario/sutradara Suyadi San dalam Semenda Expo di TBSU, Sabtu (7/3) serta secara maraton melakukan penyeleksian calon anggota baru sejak Desember 2008 sampai Juni 2009. Hal lain yang patut disyukuri kelompok ini, sebut Suyadi lagi, adalah kelulusan anggotanya meraih gelar Sarjana dan lulus Ujian Nasional (UN). "Bahkan, ada juga yang baru lulus menjadi calon pegawai negeri sipil (CPNS)," ujarnya. Keberhasilan tersebut, aku Suyadi, sesungguhnya merupakan "tamparan manis" untuk jadi bahan instropeksi diri. "Apakah dengan (keberhasilan) itu kita lalu terlena dan terlindas zaman, atau malah jadi pemicu untuk kesuksesan berikutnya pada hari-hari ke depan. Inilah inti dari rasa syukur tersebut," katanya berfalsafah. Teja | GLOBAL | MEDAN

Peluncuran Novel “Bintang” karya Win RG

Ahad, 5 Juli 2008, Sanggar Teater Taman Budaya Sumatera Utara dipadati hampir seratusan manusia. Ya, mereka menjadi saksi sejarah peluncuran novel perdana Win RG, staf Divisi PSDM FLP Sumut. Pagi itu, dalam acara yang dimulai pukul 9.30 WIB itu, Sanggar Teater terasa agak sesak. Sebab, selain peluncuran dan bedah novel, ada agenda pengumuman kelulusan Seleksi Penerimaan Anggota Baru FLP Sumut Angkatan III/2008.

Tak heran, mereka sangat antusias sekali mengikuti satu demi satu rangkaian acara. Selain para calon anggota, tampak hadir para sastrawan, budayawan, seniman, jurnalis dan praktisi perbukuan. Ada Drs. Antilan Purba, M.Pd (Labsas), YS Rat (Redaktur Rentak Medan Bisnis), Dra. Hj. Nurain, M.AP (Dekan FKIP UMSU), M. Sofyan (Perwakilan Mizan), Haya Aliya Zaki, Amri “Si Jiwa” (vokalis Maidany) dan sejumlah mahasiswa.

Acara peluncuran novel itu diisi oleh penampilan hiburan hasil kolaborasi antara Opunk Percussion dan anak-anak Teropong UMSU, serta musikalisasi puisi karya J.E. Tatengkeng dan Suyadi San oleh rekan-rekan Teater Generasi Medan. Sedangkan bedah novelnya, menghadirkan sang novelis, WIn RG, Bang Ali Murthado (Redaktur Harian Analisa dan CEO Wal Ashri Publishing) dan Drs. Nasrun Adil, M.Hum (dosen sastra Unimed dan UMSU). Diskusi yang hangat itu dipandu oleh Anugrah Roby. Seru. Meriah. Sampai-sampai waktu terlewat hingga menjelang tengah hari.

Bagi yang berminat bisa mendapatkan novel “Bintang” (Wal Ashri Publishing,2008) karya Win RG, cuma dengan harga Rp. 30.000, di toko buku kesayangan Anda di Kota Medan atau datang langsung ke Rumah Cahaya FLP Sumut, Jl. Sei Deli Gg. Sauh No. 18 Y Medan.

sumber : http://penamedan.wordpress.com/2008/07/07/peluncuran-novel-bintang-karya-win-rg/.

Pagelaran Teater se-Sumatra di Taman Budaya Lampung

25 Mei 2009 11:15
Bandar Lampung - Teater Oranye Jambi dan Teater Mara Riau, Senin (25/9), akan tampil mengawali Pagelaran Teater se-Sumatra yang diprakarsai Teater Satu bekerja sama dengan HiVOS, Belanda, di Taman Budaya Lampung mulai hari ini hingga Jumat (29/9). TeaterTeater Mara dari Akademi Kebudayaan Melayu Riau membawakan lakon “Sang Kitab” karya Hangkaprawi dan disutradarai Saho pentas pukul 16.00.

Selain kedua komunitas teater tersebut, ada delapan kelompok teater lain yang siap meramaikan event bertajuk Jaringan Teater Sumatra tersebut yakni, Teater Alam (Aceh), Teater Rumahitam (Kepulauan Riau), Komunitas Lorong (Sumatra Barat), Teater GenerasiTeater Topeng (Palembang), Teater Petak Rumbia (Bengkulu), Lab Teater (Riau), dan Komunitas Berkat Yakin (Lampung).

"Seluruh grup yang tampil dalam event ini merupakan kelompok teater yang sudah cukup dikenal dan berpengalaman di daerah masing-masing. Selain itu, para sutradara, penata artistik, pimpinan, dan manajer setiap kelompok sebelumnya sudah mengikuti program pelatihan dan diskusi yang diselenggarakan pada Januari lalu," kata Kepala Bidang Operasional Teater Satu, Imas Sobariah.

Selain pementasan, panitia juga menggelar diskusi setiap hari untuk mengevaluasi penampilan setiap kelompok. Adapun narasumber yang diundang panitia untuk memberikan ulasan pertunjukan tersebut adalah Ratna Riantiarno dari Teater Koma Jakarta, Sitok Srengenge dari Dewan Kurator Komunitas Salihara Jakarta, Yudi Ahmad Tadjudin (Direktur Artistik TeaterTeater Satu Lampung.

"Dengan adanya diskusi dan evaluasi dari para narasumber tersebut, kami berharap ada feedback bagi kawan-kawan yang pentas sehingga bisa dijadikan bahan perbaikan bagi setiap kelompok ke depan," ujar Imas lagi. Sedangkan, menurut Direktur Artistik Teater Satu Lampung, Ahmad Jusmar, dari seluruh kelompok yang tampil diperkirakan menyajikan bentuk pertunjukan yang sangat beragam.

"Ada yang menyajikan bentuk pertunjukan realisme konvensional, eksploratif/kontemporer, mengelaborasi teater modern dan tradisi, juga monolog. Demikian juga tema yang diangkat sangat beragam. Mulai konflik internal dalam sebuah keluarga hingga persoalan ideologisme dan spiritualisme. Jadi, penonton bisa mendapatkan sajian tontonan yang sangat menarik," tambah Jusmar.

Melihat animo komunitas-komunitas teater di Sumatra terhadap program ini, panitia optimistis kehidupan teater di Sumatra akan mampu menyejajarkan diri dengan komunitas-komunitas teater lain yang ada di Pulau Jawa. "Sebenaranya banyak sekali kelompok-kelompok teaterteater di Indonesia," jelas Ahmad Jusmar. (n AST/*/L-2)

Sumber: http://www.lampungpost.com

Notes from Sumatra Women Stage –Teater Satu Lampung

Sunday, May 31, 2009

Gender and Theater Faiza Mardzoeki Without any hesitation, I agreed, when the organizers from Teater Satu asked me to become a resource person and observer at the “Sumatra Women’s Stage”. The asked me to comment on gender aspects on the performance and about writing story for stage (play) Why? I though the event would be very important and interesting. I also have thought that in the realm of theatre, there is a gender problem. For example, it is still so difficult to find women theater workers. The role for women in theater is not as a decision maker like as director, playwright or artistic director. The roles of women in theater are still in “domestic” area like manager of production. I think the initiative of “women on the stage” in Sumatra is become very important to encourage women artist to lead in front role. During following the process of the event, especially in the minutes of “presentations and discussion about playwriting and directing” there are some emphasis points I would love to share. Women on stage” in Sumatra was not only to show theatre by and about women themselves, but also discussed all aspects about the performances from artistic aspects and the production issues. Then, this forum also becomes a space for sharing the struggle of women artists from the battle to find the ideas and then how to put them onto stage. The Struggle of Women Artists “Women on Stage” in Sumatra was very well prepared. They have the goal to empower women artists (especially women directors and playwrights). We can see from the program of workshop about gender by SN Nurlaila from the women’s NGO, Damar and the workshop about theatre it self covering issues like directing and writing with many experts such as Joko Kurnain, Yudi Ariani, Yusef Muldiyana and Athur and myself, Faiza. The question is why they should name it as “Women on Stage” and why they should conduct a workshop about gender? I think, Teater Satu has been finding “gender injustice” problems in the theater realm. So, from the workshop we hope that they will be revealing many women artists who have gender perspective and theater feminist productions. What is a feminist artist and what is theater feminist? In my own view, discourse about feminism in the theater is important to address issues such as how the theater productions in Indonesia also take sides of women issues rather than perpetuating the oppression against women and stereotyping women. Forms oppression against women includes showing women as objects in both structures in the community and in the nearest relation (family). Women’s position is still subordinated by men in the society. This is not how it should be. The world already recognizes the equality of men and women's rights. In the world we have the CEDAW, the UN rules that set the rights of women. In the Constitution of the Republic of Indonesia women are also citizens with equality with men. Feminist artists must have consciousness about the women and social issues and use gender perspective as basic view to analyzing the women problem in the society (theater). Well, how the production of theater also offers a new discourse: exposing stereotype and taking a stand on the rights of women. Indeed, theater is about creating ideas, transforming ideas to the stage, the capability of imagination, communication to the audiences etc.. But, there is also another very important issue, e.g “creator perspective”. There are two basic elements in the theater e.g director and playwright. These two elements have function as departure points on how the visual stage would happen with all the arguments and what the basic concept they have. This will give the character of the performances. I believe that for example WS Rendra shall have different style or character with Imas Sobariah when they produce same Play, for example, Nyai Ontosoroh. Of course Rendra and Imas will have not only have different style, but indeed they have different perspective on how they will see of Nyai Ontosoroh as story as theme, as play! Gender perspective in the theater would be useful as alternative approach to produce feminist theatre. Furthermore, it’s very important to recognize women artists and open an affirmative programme to encourage women to be more active in the theater. Indeed there is no normative statement that the condition of culture in Indoensia is still discriminative against women. But, they have some indicators that the situation of culture especially of theater performance is till very low participation of women in front role of theater like director, playwright or artistic director. There are many factors why this could happen. The participants of “Women on Stage” in Sumatra are from various background e.g house wives, students, teachers or professional artists. But as women, they are facing many problems as women. The have to struggle since in the house (domestic realm). Wani, the participant from Sumatra said that she had to show to the parents that she is “ a good woman”, even though she always goes out every night for rehearsal or meetings till late, even more because she is single!. Other participants said that they have to negotiate with their seniors many of whom are men. Women artist are must struggle on many levels. The idea to encourage women directors and writers is a good example of efforts to endorse women artists to be more active and giving them more opportunities. All of the participants also can share each other not only about their artistic or esthetic work, but also as women they can talk about their problems and share how they have to struggle as women artists. Feminism Spirit and Esthetic achievement Women’s position in the art world is still as an object and marginalized“”. For example in sinetron (soap opera), film or literary texts, the creator is still very rare to use a women’s perspective. Although there are some women artists (writers) already using a women’s perspective as a basic departure point, for example Nia Dinata, Ayu Utami or Djenar Mahesa Ayu. How about women in the theater? Contemporary theater is the most difficult one to record their traces. We often heard the story of theater maestros such as WS Rendra, Putu Wijaya, Arifin C Noor or Ratna Sarumpaet. But, they have not enough documentation of their works, so the younger generation can study or analyze it. It’s difficult to research for example how they put women character in their works. So, the opportunity to see directly of “women on stage” in Sumatra was a very “luxurious” event. The eight performances by women playwright and director were to point out women’s issues. A group from Payakumbuh, Teater Intro, with the title “Sama dengan Nol” (Same as Zero) by director Della and playwright Milla, was very vocal to point out about contemporary social conditions in Indonesia. They portrayed the high price basic needed issue, education, housewife, prostitutions. With satiric style, “Sama dengan Nol” tried to juxtapose private and domestic realm which have interconnections among them. Three women actors acted very well, dynamic and satiric. Another group, Teater Sakatak from Padang Panjang, with the director Tya and the writer Fya, bring the story about three women, with different generation who are have a problem each other but have interconnection because of “one secret”. About who is the father of the kid? The issue of reproductive rights and the authority of women are very strong. This piece was very strong in the style of nuance. With minimalist set property (only 3 chairs) the emotion, stillness and secret was very strongly revealed on the stage. Then, “Sehelai Emak” (A mother), directed by Florencia and written by Irma Sakti, a group from Palembang which tells the story about a low class family (pedicab driver). With the style of impressionist realist, Sehelai Emak portrays the poverty from point of view of the mother which said that low classes of women have to bear a double burden. The weaknesses of this performance were the way how to build the story (action development) was too weak and not focus…and the character was not clear. Furthermore, the story from Medan by Teater Generasi, directed by Wani and written by Nita tried to point out the issue of common stereotyping of women that women who are single are not good, also oppressed by family and society that women have to married. Wani tried to convey the myth that the character of women who not married was because she works as kembang mayang maker (wedding flower). In Indonesia, especially in Java, myths said the flower wedding makers find it difficult to get a partner. But the development story and character did not develop well. The director looked confuse about what they wanted. A very interesting theme, called “Dapur” (Kitchen) was by Teater Kuru Setra from Lampung. This group brings the story about kitchen as metaphor domestic realm of women. In the story of kitchen, it is not the role occupied by women, but loved by men who have a hobby of cooking. From Jambi, the story of a women legend called “Prahara Cik Apung” by theater Orange, has tried to interpret the position of women in the legend in the region. But, they still engage in stereotyping of the women characters on the stage. For example Cik Apung, the leading role in this story just becomes crazy because of a broken heart and revenge. The extra performance was from Teater Satu Lampung. It took the story written by Imas Sobariah and directed by her partner, Iswadi, called “Wanci” As a very experienced group and prominent in the region, Teater Satu succeeded in mesmerizing the audiences with a very good woman actor, Ruth Marini. It took a monologue style of a black satire of poverty. All the performances bring the women voices on the stage. The spirit of criticizing gender injustice and breaking the silence of discrimination against women through the stage was very interesting and important. The potential of all the directors, playwrights and production teams were good. We can see that all the productions seem very well prepared. In my reflection, the lessons learned from the event, from the performances were that besides there having to have skills as theater workers, it needed the knowledge about social issues, including about women problem. It needed research from many angles. Gender perspective can become one of way to see deeply the problems in the society and an approach to produce a theater. In conclusion, Sumatra Women Stage was the first step; it needs much support so the program can continue. Encouraging women directors and women writing in the theater is an important effort to make the theater world develop and flower. sumber : blogs.myspace.com/faizamardzoeki