|Prof. Edi Sedyawati|
Theatrical tradition is part of reality in the world of Indonesian art. In most cases, he found living in two worlds cultural environment. On the one hand he was raised by a particular culture, which in the context of Indonesian nationalism, this is called cultural areas that have a number of traits that fostered through the constancy of tradition. On the other hand, he also adapted and reshaped by the needs of a stretch of the broader culture, which does not merely embrace the taste of his native tradition. From this situation arises the first problem: theater traditions for whom?
Theatrical tradition has undergone a shift in ownership. If at first he only felt as a group owned by supporters of a particular culture, they now are from other areas are encouraged to have a sense of ownership over it anyway. Legitimately have stated that the culture of Indonesia is the entire regional cultures (plus everything that grows in this country but outside the context of local cultures). Thus, an issue both may also appear here: theater traditions of a culture area can earn income on the taste or concepts from other areas of culture. And a wider door opening also allows the entry of the ideas and tastes of other States. Things like that has happened so often in the past and definitely still a lot will happen in the days to come.
These changes occur not solely caused by a circle holding a type of theatrical tradition becomes more widespread, but it could also be due to humans supporting local culture itself has changed: due to changes in the way of life, because the change of generations. In this case there was an internal development in the theatrical tradition is concerned, where the factor determining the changes that most of the talking is saturation and berpetualan. The conditions of these internal balance shows the difference between the saturation factor and adventure on the one hand, with violence on the other factors are in one values the beauty of a well-established and safe.
Changes in society and culture has brought the tradition to experience theater and also the changes in form and concept. Technical and conceptual developments are not infrequently accompanied by Changes inprocedural and organizational.
Then the third problem that arises is the problem of Art History, where the elements that tend to persist and persist, and whether the dynamic elements are the same on every form of theatrical tradition. (Reference: GROWTH ART SHOW / Edi Sedyawati / Rays hope th. 2000)
1) Traditional Theatre Week 1977, featuring: ketoprak ongkek (Yogya), ubruk (West Java), mamanda (South Kalimantan), supportive (Riau) and mask prembom (Bali).
2) In 1980, the adjacent two occasions, namely the Comparative Study of Theatre speak on 2-3 November and the People's Performing Arts Festival on December 10 to 14, has shown:
a) Seven forms of theatrical tradition, namely: ketoprak ongkek (Yoya), makyong (Riau), ludruk made (East Java
b) Six-spoken art form, namely: plash (Lombok), cekepung (Bali), sinrili (South Sulawesi), puppeteer jemblung (Central Java), templing / kentrung (East Java) and warahan (Lampung).
Lebih lambat dari tari-tarian tradisi yang sudah mulai diperkenalkan di forum Bhineka Tunggal Ika sejak tahun 1950-an pada acara-acara 17 Agustus, teater tradisi baru mulai eksposisinya dalam forum serupa pada tahun 1977 ketika pertama kali Direktorat Kesenian bekerja sama dengan Dewan Kesenian Jakarta mengumpulkan enam bentuk teater tradisi dari berbagai daerah untuk berpentas bersama di TIM (Taman Ismail Marjuki). Kali ini, di akhir 1980, kedua lembaga yang sama mengusahakan hadir bersamanya 7 bentuk teater tradisi dan 6 bentuk seni tutur dari berbagai daerah. Lepas dari segala kekurangan dan keterbatasannya, usaha ini cukup berarti sebagai upaya untuk menimbulkan situasi saling kenal.