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  • Print publication year: 2018
  • Online publication date: December 2020

12 - Yogya on Stage

Summary

Abstract

Since its first performance in 2008, German theatre company Rimini Protokoll's 100% theatre project has travelled the world, mobilizing a hundred residents of diverse cities, each representing 1 per cent of the population, to play themselves and express their views on stage. In 2015 the show came to the Indonesian city of Yogyakarta, staged by Rimini in collaboration with local theatre company Teater Garasi. Reviewed in the context of recent social developments, 100% Yogya is seen to have created a vibrant picture of a city undergoing modernizing changes, absorbing global influences, while bringing together participants of diverse backgrounds to express their views, revealing and necessarily accepting differences. A global dramatic model applied locally produced impressive theatre. What its impact and ongoing significance may be, however, as key social divisions revealed by the production continue to shape Yogyakarta life, challenging the designation ‘city of tolerance,’ remain unanswered questions.

Keywords: local, global, diversity, community, performance

In 2015 the globally circulating 100% city reality theatre project (100% Berlin, 100% Athens, 100% Tokyo etc.) came to Indonesia. Performed first in Berlin in 2008, Vienna and Athens in 2010, then in Melbourne, London, Oslo, Zurich, Copenhagen, San Diego, Brussels, Cracow, Tokyo, Kwangju, Paris, Darwin and beyond, the project mobilizes a hundred city residents, each representing one per cent of the local population in terms of census categories such as sex, age and occupation, to play themselves and express their views on stage. Berlinbased theatre company Rimini Protokoll works with local social institutions and community groups to bring together casts of non-actors through a ‘chain reaction’ method, each participant selecting a friend or acquaintance, then training them in patterns of movement and visual representation to express their opinions on stage. This ‘staging of metropolitan demographics in a form of “reality theatre”’ (Koczy 2015) is intended to both provide a profile of the city and serve as a ‘community event.’ People from different social, ethnic, economic, and geographic groupings who would not normally have contact with one another are encouraged to interact, express their views, given space to reveal their differences, displaying the diversity of peoples and opinions co-existing within a single urban site. All join in sequences of music and dance celebrating their city.