THE IMAGE OF HUMAN TRIBUANA, by I Gede Tapa Sudana

When we ponder on human body from baby to maturity, from horizontal to vertical, from birth to death, the structure contains an axe as an essential pillar that is the 33 pieces of the backbones that carries 4 extended members as branches (like a tree): two arms+two hand to comprehends, to express and two legs as moving root. One end of the vertebrae is head and the other end is the sexual organ, the organ of divine ancestral creativity. Both poles/ both ends contains the house of the mental/ the intellectual/ the invisible/ the head/ the idea at one end and at the other end contains the house of the sexual organ/ the material/ the body/ the visible/ the reality, both poles will create living multicolour energy and the emotional energy produce by digestive organs. So, to play with emotional energy, the intelligent and the spiritual of human being takes an important guidance in action and creation with the support of the body as the carrier and as instrument of realisation, of movement. Of course depend on human character, sometimes the emotion will dominates and guides, sometimes the physical will determines.

If we associate the triangle of the brain activities to the head and the material to the lower part (navel – sex) then we may find that life on earth is the product of sky and earthy elements. There are three form of life: vegetal, animal and human form.

Sky is as a vibrate and radiant energy, while earth is as an inert energy, a mass and a sleeping energy, both will create life. As yin and yang create, as positive and negative electrical charges create light and energy. (This sleeping mass is another form of energy as it is found by Einstein). The complimentary two can become the contradictory two. A form is in a perpetual transformation. Performance. To perform life is as if we are trying to perform the playfulness of the idea and the reality, the invisible and the visible/the real. The theatre makes visible the invisible, the act of realize-ation. To realize how we are played by thought, how we are played by our emotion and how we articulate our body, to speak, to sing and to dance/ to move is a dialectic contemplation that lead into an ascend-consciousness meditation. The three arts are the expressive instrument of the theatre. Another three fundamental element of theatre are: actor, spectator and story to share and to enjoy together. A miracle could happen between the actor and the spectator, between the transmitter and the receptor, between the giver and the receiver, between the creator and the reality.

What kind of preparation is an actor should do? What experience should they pass through? What lessons is needed. What to learn in other to earn something? Yes, we need to learn for to earn.

To open some way to the answer let us review the path of life from baby to old time. The three step of work:
1. the work to grow the body
2. the work to develop the energy of life for exemple: the emotional experience, to discover emotional and physical love. To explore the sensation and the feeling. To explore and cultivate all type of energy (prana, chi, ki, bayu, pnefma) that animate the body and the brain, the mind or spirit, .....
3. the work to structure the brain, to educate and cultivate the intelligent.
This three worlds of human being ( I name it Tri Buana) has its own natural time to grow. Education must be aware of this program of human nature. Education and transformation must be adjusted to the flowing program of nature, reality that surround us. The reality composed by the visible and the invisible.

The three parameter that determine the ”real-thing” are: the past, the present and the future; the head, the digestive organs and the sex (sex: as instrument of divine ancestral creativity); the thought, the emotion and the body; the sky, the earth and the life, the living climatic energy; left, right and the centre; up, down and the middle; you, me and our story/ our way/ our points of agreement/ our living relation/ our common project; right, wrong and just; the beginning, the end and the life/ the present; the good one, the bad one and the real one; your truth, my truth ant the truth; the thing you like, the thing you don’t like and the reality; as a child, as an adult and as an old wise human.

If we would like to find out what will be the ingredient of the “tribuanic theatre”, then the possible answer will be the theatre that contain food for brain, for music/feeling/emotion and body/movement, where we find that both actor and spectator is actively doing work with text, song and movement. How it can happen? It needs a special place of happening, a special “theatrical space”, and another form of performance (other form). The question is: do we need this form, where the spectator is not only sit in a comfortable chair as a passive present, a receptive observer? If a spectator speaks, sings and moves they will become a performer. Ah haa, we got a problem. Nice! We got works to do! But how to be or … not to be.

An actor should play playfully, fluently like an innocent infant, to behave like a well ripe adult, own a quality of intelligent like an expert / a scientist, a mind of a wise man and wise woman, to maintain his way in a spiritual path, in an invisible way of life. The present of a spirit as in Balinese theatre, for instant, a present of a religious attitude, a "god" (creator) with no name is necessary in every action as well as the present of ritual. Oo hoo, hm mmm! It is too idealistic! It is too difficult!! It is impossible!!! Well, difficulties and impossibilities will not stop a conscious-being to act, facilities and possibilities not always pull a mind/ a desire into action. But as saying says: where there is a will there will be a way.
When human makes plan, GOds laugh ......

An established definition or an established finish-ion is finish, is done and will be like that forever .... or not!? When "thing" is finish, "thing" is dead. To improvise in theatre of life, trying to improve something. So, a chance could be given to present a tribuanic theatre. It is preview at La Luna nel Pozzo, from 10-17 april 2006. www.la-luna-nel-pozzo.com

TriBuana is a way among all-ways, among other ways, it is an offering, a balinese way of offering, people are free to be or not to be in.

Step by step, station by station, state by state, constatation to constalation ....

Alors, bon voyage Monsieur & Mesdames.

Hope to read your comment then.

Sincerely
Tapa Sudana.

TRIBUANA, THE THREE WORLDS, THEATRICAL WAY update 14 january 2021

updated 14 January 2021, added lesson.

"To awaken and to cultivate the expression of the Three Worlds: Thought, emotion, body " My opinion: in Bali, the actors behave like servants. They serve a story (or "something"), which must be told (honoured). This means that the story is more important, more interesting, contain higher value than them. The story has already a life. The “hi-story” includes a better knowledge, wisdom, as well as a natural path (visible or invisible, comprehensible or incomprehensible) to follow. In order to reveal this life (this mystery), the actors must mobilize all their resources. The work consists to wake up, to cultivate and to unify the expression of the three worlds (body, emotion and thought) in order to arrive to a total expression through deep solution, clever/ intellectual, scientific and also sharply intuitive, analytical and global. 

The history must be carrying the three natural, creative and generating ingredients: 

1. It cultivates the intelligence in a creative way in the way of the harmony; therefore, it must make people more intelligent. 

2. It gives a long life, its existence will last beyond its presence, longer than its physical life, beyond the emotion. 

3. It must have the transforming (magical) effect, it transforms the actor the actress, the spectators and the surround (the world, "three worlds") The field of exploration includes 21 lessons: 

lesson no O is Prep: preparation, tribuana meditation

 1. Penchak Silat or Silat (martial arts Indonesian = the art of survival). To foresee for this lesson, preferable to dress in white (trousers and white T-shirt if it is possible). 

2. Tai Chi (of the movements carrying out to the conscience of the physical articulation and energy = chi) 

3. Chi Kung (of the exercises physical and mental carrying out to the conscience of precious energy and very subtle which animates life and cosmos) 

4. The work of percussions inspired by the Kodo (Japanese drum) to exert the work on rhythm, endurance, force, voices of the Three Worlds and the ritual. The instrument Kodo must be built. 

5. Yoga: static positions, wakes up sensitivity which makes it possible to feel the interior impulse, which carries out an actor to the action and the realization. 

6. Pranayama, exercises of breathing; inspiration and expiry of energy (to perceive and try out various kinds of energies); 

7. Daily practice of some exercises of Taoist health. This exercise engages: the image, the movement, the sound and mental activities in link with the emotions, the organs of digestion, the 5 elements, the colours... etc). 

8. The work of the stick (Tongkat): the actors handle the stick and play with by repeating some precisely determined movements. The exercise of the stick is inspired by the martial arts for the aim of warming-up, health maintenance, work in group, meditation, and to awaken the feeling to be "ready to follow" (in the direction where the actor must serve, follows and gives life to a character or a story). The participant invited to bring with them a stick (of wood ) 35 mm in diameter, a length equal to that which separates the feet from the eyebrows (third eye). 

9. Work with masks, stories which will be told individually or in group 

10. Work with the musical instrument /percussion. 

11. Work with the objects (props), like tools of expression or accessory to tell a history. (Puppet for example) 

12. A work on improvisation, common creation, that relate with the work in/on a group. In this work 3 steps must be considered well: knowing/comprehending the participants, creating a common theatrical language and choosing/working on “subject” in common as “thing” more important to serve/to feed together. 

13. A work in the group and on the group: serving the centre of the common interest of the group, it is necessary to know "the magic and mysterious thing which binds us together" which will give rise (realise) a story to tell, which will be then shared publicly. Aware of one common “thing/story” to develop; at the same time the actors remain open, alert, sincere, essential, therefore simple and direct. To understand/to comprehend "theatrically" is to be, is an action (with or without accessory) of a definite comprehension/interpretation that express in a living way. An actor who says "I understood", they are able to make it, to carry out their comprehension in acttion. 1

4. Kéchak: it is in the beginning a vocal chorus of all the villagers who take part in this dance/ trance of Bali, for goal to move away the contagious mortal diseases, negative/ destructive energy, the natural disaster who threaten to destroy the life of the people, animal or vegetal. This "chorus/ dance" makes it possible to the actors to work on the voice, on the collective rhythms, on the conscience and the energy of the group. It is a work on the harmonization, wakes up it cosmic energy of the group for cures, for the happiness of the life. 

15. The actor is moved and danced by ethnic music, by singing songs from various countries, Ethnic song as theme of improvisation for movement and story to improvise. 

16. A work on the sacred syllables - the sound – personal inner voice: to find, to give birth to a syllable each day. A syllable corresponds to a sound and is made up of a vowel and 1 to 4 consonants. Just as for the totem, the progression of work, the composition of the syllable, develops in such a way that the first day syllable will give birth to the syllable of the second day; the reality of the second day gives life to the syllable/reality of the third day, etc. 

17. To meditate on (to contemplate) short sentences which are to be regarded as the crystal of the thought, fruits of contemplation. To reflect and exchange opinions, to discuss subject/ problem in a group, all these activities are the field where the thought can be cultivated and involved in order to produce a common theatrical language, a common creation based on common understanding/comprehension. 

18. Story telling, story which are told by participants, or by myself, who will give place then to improvisations. To find a common language to explore and build together. To give life to a story consists in finding together the inner impulse of the story inside us, a work where the sharing is experienced. 

19. Work on the "totem". A totem is a material composition which one develops by adding object/something to the composition each day. Totem will be presented and visited the last day of the workshop. The totem can be personal or collective. A totem can find its origin and initiated by a place or of an idea, which needs objects to become reality (and a definite place in the case if we work in the nature, outside). 

20. When the spirit of the totem concentrates on a paper sheet, it becomes an image, a drawing and series of syllable, which is built with the passing days by daily adding a form or a line of colour and sound. It is what is called: the Hard Disk of the personal identity or Diskette. 

21. An introduction to ritual, by honouring the instruments of work, workspace and environment. A place where you work (DO JO/MARGA PURA) is regarded as a place where one cultivates a way of life/a path of life, a manner of being. Each one takes care the place of work, and share/ participate its maintenance; The preparation of the place will develop the work of group and awaken the sense of responsibility. If the theatre is the "diamond of the life", its goal should be to crystalize the experience/ history /reality in expression, by awaken and cultivating the expression of the "three worlds" (body, emotions, thought), to follow the way of the harmony with nature, adapting their reality to the needs of the space, time and situation. An actor (Tri Buana) must be in good health (tribuanicly), in way of harmony, in order to be able to animate the story (which animates them) and to offer it to the public that came to share the authentic account of the hi-story. 

22. Bayu Panah Tribuana, is inspired by Kyu-Do of Japanese ceremonial archery. This work needs bow (Japanese bow of bamboo ideally) and arrow and target, or we may use elastic to replace the present of bow. Students need to bring those instruments. a photo of it, klick here. There are some sequences of movement to be repeated every time in a ceremonial manner and intense concentration, there are 8 steps before releasing an arrow (8 hasetsu). Total awareness is to be developed.  Video of my one-ma-show, Roma 1992 with kyu-Do, klick here 

23. Questionnaire -Tribuana: working on expression (in writing) of three parts of life-time: Participants of Tribuana expression workshop are invited to fill a questionnaire, a shared information , personal, professional, short essential-characteristic CV, as far as your openness to be expressed/exposed.

PAST : (what are your ancestral heritage, c.v, education, important workshop being done, important accident, past important experiences);
PRESENT :(job for living, what are you doing now in present living-time, what do you like to explore among 27 "lessons");
FUTURE : (what are you like to be in the future, your dreams, your ideal goal in life .... have the courage and sincerity to express not being afraid or shy to write if your were able or not able to reach it).

The past will make you sure to be present, and the future will attrack the present, hopefully with joy.
To see in symbol Tribuana questionnaire, see this picture below.

Notabene: opening, offering, determine the entrance. What you get depend on your openness. Information transforms.

24. Personal dialoog ou multiloog with Tapa Sudana. The meeting is to share essence of experience, to find answer of personal problem, to pro-pose one's opinion, one's advise, one's parameter/reference of life, how to be or not to be, what to take what to ignore, to channel one's thought and action in a direction. A dialectique conversation, between 2 there are the third to develop together.

25. . Post-note tribuana. This field/lesson tribuana was born after Easter Retreat at Casa Natura Alpenise, Cima Grappa, Italia, 28 march-1 april 2013.  Eventhough the workshop is finish already, i still open impression/question exchange, by mail, skype, Facebook, as participants wish.  For exemple, klick here

26. Gerak nuraga/Nurani, Olah Nuraga, Gerak Pranatman, ... Microcosmic dance ? A video to see? please Klick.

This field to explore as lesson, as exercise, as ritual, as food, tribuana food, seems to me came from my past research in Jogyakarta, with Bengkel Teater W.S.Rendra, that time, 1970, Bengkel's actors called it "Gerak Indah" = "Artistic/beautiful movement" for the first groups, and then with Rendra's second group in Jogyakarta, Indonesia, we explored "Gerak Nurani", Inner voice movement. In my memories, may be i have introduced and have done exploration on this work in Athens, in an archeological ancient ruin, late afternoon before sundown, with tribuana participants. A strange looking man ( look like hermit) passed by, and stop in a distance  watching us, and at the end of our "Gerak Nurani", he came to me, saying:" you should not do this movement here, you are lucky, not many people pass by here" .....he passed away mysteriously.
For this work space climate/ambience is important as part of the guide/parameter. Every participants will bloom their Atmic (Atman)-bud (/grain), in their own spring time. Spring time can be created together in space, time, situation and participants.  To start this work , we need to initiate it from lesson 0. Prep.  a kind of Zero state mind meditation. Zero vocabulary. is it possible? hmmm, I don't know, but we are marching toward it, to find a "way" in no way. Vegetarian is a step to maintain, and has been started before, to purify the fine inner impulse that open, spring from inner impulse into a posture,  posture into movement, into voice, into image, into word .. sentences ... it is a sacred celebration, personal, or in a group. The 5 vows is useful for mastering the moment of action. The criteria of cosmic symphony is being formed at that very moment, in evolution, in togetherness with others around you. An astonish moment, flowing and being flowed by prana, pnefma, chi, ki of life. All criteria/vocabulary of dance are to be omitted.No more right nor wrong, beauty nor ugly, like nor dislike, .... so ...."that's it, tat twam asi.

27. Impro Tribuana 3 words,  let spring 3 words just instantly without much thinking, and from that improvise a song, composing lyric and music; eventually it can grow into movement, dance; the work is how to find a natural link from one word to other word. The 2 words as parents (masculine and feminine, or yin and yang, or positive and negative electric charge) will produce link for/to arrive at 3rd word, and then the 3 will produce Koan, Hai Ku, poem, sentences, story. How to grow, to nurture, tu cultivate those 3 words in this fields/ garden/ lesson? KEKAYUN can be a guide.
https://www.youtube.com/watch?v=puPjfcayJCA
https://www.youtube.com/watch?v=hIUERM-qG8M
etc; can be found more by the 3 words above as key.

28. KEKAYUN, Tree of Sentence, Tracing how grows one's words into sentence, that mirroring oneself, that sentence has power to sentence the speaker and the listener. The master for this field/lesson is "the tree". Observe how tree grows as aware how one aware words flow from the mouth, grows mirroring it image with "what tree?", grows like mono-spinal tree ( christmas tree, cedar tree (etc. alike) or tree that wildly uncontrolled branching in all direction (banyan tree), free to grow its branches as light and space offer/attracts (banyan tree, etc alike).

 This work need a quiet peaceful mind in order to respect and honor the "will" of 1 word, 2 words, 3 words .....etc. Words can be considered as a living spirit, as mater can be brought into life (awaken the spirit of life) by an "actor", actor present to awaken a deadly mater, deadly body of human, puppet, object, mask, etc. To honor the meaning of a word, to taste its sounds that composed by....? the consonants and vowels in it. Here a turning point, a departure point one will deal with the magic of "spiritual way", that has been explored by many religion. Speaking about spirituality by the path of religion, it is a personal way. We see now in the beginning of the 3rd millennium, diversity of religions can not offer peace in a certain society, to live in community of diversity (like Indonesia 15000 islands with different ethnic, language, tradition, belief, religions, culture, ...) Look at around Jerusalem, with 3 religions, no peace that can last for ...... Then, following the path of "spirit" (Atman), how life comes in matter, from dead cell to living cell. Peace in a place and in one-self, demands many parameter as: appropriate climate, so the magic can occur. What is the other side of peace? When peace follows by war, war need guns sssssss ......Why advanced nations  (rich, wealthy materially) keep producing weapons, even atomic,  on this round earth of diversity? Why?
Exemple in making sentence:
" i want to go to a city  ......etc"
" i want to go to a city that where I can find someone that ..... etc 
" i want to go to a city that where I can find someone that teach me..... etc.

You see how the sentence grow, how the word comes to joint the written sentence........ ???
What are the need of the first word?
And a line of words chained as sentence already written (reality to grow), sentence (not yet finish/complete) will be completed .....

Kekayun, kekayon, a figure that the DALANG (puppeteer) dance/move/gives life on the screen of shadow play WAYANG, in the beginning of the shadow-show.

Kekayon (Bali),

 Gunungan (Java)

29. Gym Tribuana

Gym tribuana is gymnastic that awaken and activate the basic 3 human body, energy, rhythm, voice and thought, mind, imagination , in movements, inspired by tai chi, Indonesian silat/kung fu, yoga, karate, kalary payat, all personal movement that spring from body needs, naturally, as we get up in the morning there are a natural need to do stretching, shaking, massage etc. Every morning can be different in variation.One part of movement can be repeated many time, aware of what part of your body being moved, what rhythm and sound pronounced,  how long, speed, etc.Take care to enjoy the movement. at the end of the session can be ended by pray.Simply sit quiet, to feel sensation in the body, breathing, observing,  how quiet you are, wandering the state of being, your mind, steady or agitate, ponder stillness. Every day is a bliss, amazing grace. 

There are 240 gym tribuana in you tube , as offering I made, free morning offering, as in Balinese tradition, we make offering every morning.
Enjoy. The number of video is growing, smilingly.

klick link below : 

https://youtu.be/RXDxQ106IG0

https://youtu.be/nkFypO9cBvQ

https://youtu.be/3mTrDO1u9zM

https://youtu.be/O__HWRwgi_E

https://youtu.be/UrmbufUs1hE

https://youtu.be/DlE0dvtFR-E

https://youtu.be/LumpOokU1rQ

https://youtu.be/StsXxGcx_lE

https://youtu.be/r72BgAmnMCw   tao 5 elements

https://youtu.be/mhyGlmCMOQs   tai chi 4 cardinals

etc

 Brahman signifies the imperishable supreme. The realm of the SELF is the pure clear liberated essence of ones being. To ACT is to be on the way of the manifestation of the creative process, which leads the invisible BEING to existence. Inspired by Bhagavad Gita, song VIII, 3. 

 Tapa Sudana, Montreuil, Sunday 17 July 2005 tribuana@wanadoo.fr

for the new text of Tribuana presentation please see another blog :  http://theatretribuana.blogspot.com/ NEXT WORKSHOP: 10 - 22 July 2006 in Paris, contact Olivier Richard 33 1 46 07 08 10, email: artmetamorph@libertysurf.fr , time from 10H00-18H00, except 16 july 2006; Athenes, from 11-14 june 2006, contact Sandra Mavroidis: sandralala9@yahoo.gr tel: 00302107628368. 22-27 august 2006 at teatro del Montevaso, Italia,s.p. Del Montevaso km 18 - 56034 Chianni (Pisa) tel e fax 0587 647617 : tel 333 - 8592986 / 338-9397192 contact: Francesca Pompeo & Enrico Pompeo. teatrodelmontevaso@montevaso.it TAPA SUDANA tribuana@wanadoo.fr Born in Denpasar, Bali, Indonesia : 21 September 1945, IM70, 70 kg. Until 1974, his name: I Gede Sudana; From 1974 on, his name: I Gede Tapa Sudana. Study : 3 years Faculty of mechanical engineering at Gajah Mada University, Jogyakarta. 3 years Academy of Film and Theatre in Jogyakarta, Indonesia Theatre in Indonesia started in 1968: with Ikra Negara, Putu Wijaya, W.S.Rendra and SardonoW.Kusumo. With Rendra: In Hamlet as Claudius, in Oedipus as Therisias, in Macbeth as Macbeth. With Sardono: In 1973-74 Kechak creation at Teges, Bali; in 1974 Dance Theatre Mask: “La Sorcière de Dirah”, European tour. Theatre: since 1974 living in Paris. “La Legende du glacier”, “Les Gens du glacier”, theatre-dance-mask of Bali and Lötschental (Swiss) directed by Marcel Robert, Geneva. “PATRA”, theatre-dance-mask of Bali, a creation with I Made Netra, Soegeng, Dewi, Jacques Fassola. Performed Balinese Mask dance with: I Made Djimat, Cristina Wistari, Made Gerindem, Ida Bagus Geria, Soegeng. “Voyage Punta” Solo dance theatre mask of Bali. “Bayu”: performance with: mask dance, flute, sakuhachi, Silat (Indonesian Kung-Fu), Kyu-do. “Oh Jerusalem” by Elisabeth Swadows in New York and Roma. “Zarzuela” directed by Alain Maratrat. “Les Rescapés de la Dernière Croisade” de Marco Horvat, directed by Michel Hart. “Tabarin” de Geneviève Serreau, directed by David Esrig as actor, masked. “Zat”, Sufi story directed by Ali Ihsan Kaleci. “Arbre à Palabre”, story telling with Footsbarn theatre; With Peter BROOK (1979-1991): “La Conference des Oiseaux and L’Os”, Carmen, The Mahabharata, The Tempest. “Das lied von der Erde” by G.Mahler, David Stern, Yoshi Oida. « Il n’y a plus de Firmament » by Josef Nadj. Assistant Director: Actor-trainer for mask in “Oedipus” directed by Stavros Dufexis, in Madrid. (Jose Luis Gomez as Oedipus). Musician and actor-trainer for mask in “Iketides” directed by Stavros Dufexis, Epidaurus and Athenes. Film work (actor): “Rapsodie en Jaune”, telefilm in Paris. “Carmen”, “Mahabharata” by Peter Brook. “Tang le onzième” by Dai Sijie. “Prêt à porter “ by Robert Altman. “J’ai faim” by Florence Quentin. « Palais Royal », by Valérie Lemercier. Intervention in theatrical creation with various company : Tour de Babel, Salamandre, Footsbarn theatre. Teaching : Since 1979, Tapa Sudana gives workshops on Balinese mask and movement. He has created a work on expression of the “three worlds”(thought, emotions, body) through workshops in France, Greece, Italy, Switzerland, Spain, Amsterdam, Belgium, Bogotá, Venezuela. This work includes: body work based on Tai Chi, Silat (Indonesian Kung Fu), Yoga, Ko Do, Kyu Do, Totem (object composition/construction, contemplation, ritual, the sacred), Ethnic Song, Tongkat (stick work developed by Tapa), I.Disk (design, mandala, sacred-syllable), Story telling, Mask, Improvisation, Contemplated text, Meditation, Taoist health exercises, Chi Kung, Kechak (Balinese voice rhythm, movement), Rhythm, Group work, Ritual. MONTREUIL, 6 dec 2005.

added lessson 14 january 2021

Under the Buana Tree, at La Luna nel Pozzo

Under the Buana Tree, at La Luna nel Pozzo.

The fifth TriBuana workshop of Tapa Sudana at Theatre La Luna Nel Pozzo of Robert McNeer an Pia Wachter, will be from 10_17 April 2006.A spring time to grow a way.
Please see: www.la-luna-nel-pozzo.com, and mail : lupo.teatro@libero.it

What will be different from the last open door after the 5 days workshop of those last years? It is also depend on the participant. Who are they? They are the nature, the hard worker and loyal participant and the public. Those three elements will set the way to a future Tri Buanic theatre..




The celebration of the three creative expressions of mind/thought, emotion and body, of human nature is to be performed as offering.. So, there to hope to be a celebration, a ritual with music, story telling, dance, puppet, mask, Tongkat, Kodo, Totem all the fruit of the 21 lessons of Tri Buana way.



Participant of workshop are invited to bring a proposal to be work out during the 7 days workshop. It could be song, ethnic song, story, puppet, art craft, handicraft, totem, and dance.
An invisible stream of Balinese theatrical spirit will be presented be my, sorry, since I have been wandering in Europe since 1974, and running the grain of this Tri Buana work shop since 1979.

I don’t know what will be the real form, but I will surrender to the will of the reality to realize it. And the present of others is great real present, the creator, the cultivator.

For more informations, please look at http://theatretribuana.blogspot.com and http://www.blog.ca/tapasudana

Hope to see you
In the way
Smile Tribuana,
I Gede Tapa Sudana

TRIBUANA, TROIS MONDES, UNE VOIE THEATRAL 26 leçons

SVP cliquer ici pour voir le texte travail/voie Tribuana avec 27 champs à explorer.

Klick here , Tribuana workshop in English

« Eveiller et cultiver l’expression
des Trois Mondes :
Pensée, émotion, corps »


Mon opinion : à Bali, les acteurs se comportent comme des serviteurs. Ils servent une histoire ( ou « quelque chose ») qui doit être racontée (honorer). Il faut que l’histoire soit plus importante, plus intéressante, supérieure à eux ; l’histoire a déjà une vie. L’histoire englobe mieux la connaissance, la sagesse, ainsi qu’un chemin naturel (visible ou invisible, compréhensible ou incompréhensible) à suivre. Afin de révéler cette vie ( cette mystère), les acteurs doivent mobiliser toutes leurs ressources.
Le travail consiste à éveiller, cultiver et unifier l’expression des trois mondes (corps, émotion et pensée) en vue de parvenir à une expression totale à travers une approche profonde, intellectuellement scientifique et aussi intuitive, analytique et globale.
L’histoire doit être porteur des trois ingrédients générateurs :
1. Elle cultive l’intelligence d’une manière créative dans la voie de l’harmonie ; donc, elle doit rendre l’être plus intelligent.
2. Elle donne une longue vie, son existence durera au-delà de sa présence, plus longtemps que sa vie physique, au-delà de l’émotion.
3. Elle doit avoir la magie transformante, elle transforme l’acteur l’actrice, les spectateurs spectatrices et l’entourage (voir : le monde, les « trois mondes »)

Le champ d’exploration inclut 25 leçons :

0.Prep in english. et en français aussi.

1. le Penchak Silat ou Silat (art martial indonésien = l’art de la survie). Prévoir pour cette leçon, préférable en tenu toute blanc (pantalon et T-shirt blanc si c’est possible).
2. le Tai Chi (des mouvements menant à la conscience de l’articulation physique et de l’énergie = chi)
3. le Chi Kung (des exercices physiques et mentaux menant à la conscience de l’énergie très précieuse et très subtile qui nous anime)
4. Le travail de percussions inspiré par le KO DO (tambour japonais) pour exercer le rythme, l’endurance, la force, les voix des Trois Mondes et le rituel. L’instrument KO DO a construire.
5. Le Yoga : des positions statiques, éveille de la sensibilité qui permet de sentir l’impulsion intérieure qui mène un acteur à l’action et à la réalisation.
6. Le Pranayama, exercices de respiration ; inspiration et expiration de l’énergie (pour percevoir et expérimenter différentes sortes d’énergies) ;
7. La pratique quotidien de quelques exercices de santé taoïstes. Cet exercice engage : l’image, le mouvement, le son et les activités mentaux en lien avec les émotions, les organes de la digestion, les 5 éléments, les couleurs, …etc. ).
8. Le travail du bâton (Tongkat) : les acteurs manipulent le bâton et jouent avec en répétant quelques mouvements déterminés précisément. L’exercice du bâton est inspiré par l’art martial pour le but d’échauffement, de maintenir la santé, de travail en groupe, de méditation, et pour éveiller la sensation d’être « prêt à suivre » (dans le sens où l’acteur suit et donne vie à un personnage ou une histoire). Les participants sont invités à apporter avec eux : objets, masques, instruments de musique, un bâton (en bois de poids) de 35 mm de diamètre d’une longueur égale à celle qui sépare les pieds des sourcils (troisième œil).
9. Travail avec des masques, des histoires qui seront racontées individuellement ou en groupe
10. Travail avec l’instrument musical/percussion.
11. Travail avec l’objet (accessoire), comme outils d’expression ou accessoire pour raconter une histoire. (Marionnette par exemple)
12. Improvisation, création commune qui en relation avec champ n° 13. Ce travail demande 3 étapes à respecter : comprendre bien les participants, création d’un langage commun et avoir l’intérêt commun/ l’histoire à servir, à honorer ensemble.
13. Un travail dans le groupe et sur le groupe : en se tournant vers le centre (l’essence) de l’intérêt commun du groupe, il faut savoir « la chose magique et mystérieuse qui nous lie ensemble » qui va donner naissance à l’histoire qui sera ensuite partagée publiquement. Le « récit de l’histoire » concerne chacun ; en même temps les acteurs restent ouverts, éveillés, sincères, essentiels, donc simples et directs. Comprendre « théâtralement » est une action (avec ou sans accessoire) faite d’émotion et de compréhension. Un acteur qui dit « je compris », il doit capable de faire, de réaliser sa compréhension.
14. Kéchak : c’est à l’origine un chœur vocal de tous les villageois qui participent dans cette danse/transe de Bali, sacrée, pour but d’éloigner les maladies contagieuses mortelles , les énergie négative/destructive, les désastre naturelle qui menacent à détruire la vie de l’homme, animale ou végétale. Cette « chœur/ danse » permet aux acteurs de travailler sur la voix, des rythmes collectifs, la conscience et l’énergie du groupe. C’est un travail sur l’harmonisation, l’éveille de l’énergie cosmique du groupe pour guérisons, pour le bonheur de la vie.
15. Les acteurs bougent et dansent sur des musiques ethniques, en chantant des chansons de différents pays,
16. Un travail sur les syllabes sacrées - le son - voix personnelle :Trouver, donner naissance à une syllabe chaque jour. Une syllabe correspond à un son et est composée d’une voyelle et de 1 à 4 consonnes. De même que pour le totem, la progression du travail, de la composition, du son, se développe de telle manière que le travail/composition/son du premier jour donnera naissance à la syllabe du deuxième jour ; la réalité du deuxième jour donne naissance au troisième jour, etc.
17. Méditer de courtes phrases qui sont à considérer comme le cristal de la pensée, les fruits de la contemplation. Réfléchir et échanger des opinions, discuter en groupe, toutes ces activités sont le champ où la pensée peut être cultivée et entraînée afin de produire un langage théâtral commun.
18. Ecouter des histoires qui sont racontées par les participants ou par moi-même, qui donneront lieu ensuite à des improvisations. Un langage commun à explorer et à construire ensemble. Donner vie à une histoire consiste à trouver ensemble l’impulsion intérieure de l’histoire à l’intérieur de nous-mêmes, un travail où l’on expérimente le partage du cœur.
19. Travail sur le « totem ». Un totem est une composition matérielle qu’on développe en ajoutant chaque jour quelque chose à la composition ; il est présenté et visité le dernier jour du stage. Le totem peut être personnel ou collectif. Un totem peut trouver son origine et démarrer à partir d’un lieu ou d’une idée qui a besoin d’objets pour devenir une réalité physique/matérielle.
20. Lorsque l’esprit du totem se concentre sur une feuille de papier, il devient une image, un dessin qui se construit au fil des jours en ajoutant quotidiennement une forme ou une ligne de couleur. C’est ce qu’on appelle : le Disque Dur de l’identité personnelle ou Disquette..
21. Une introduction au sens du rituel et du sacré, en honorant les instruments de travail, l’espace de travail et l’environnement. Un lieu où vous travaillez (DO JO/MARGA PURA) est considéré comme un lieu où l’on cultive une façon de vivre/un chemin de Vie/ une manière d’être. Chacun prend part à l’entretien et à la préparation du lieu ; ceci développe le travail de groupe et le sens de la responsabilité..

22: Bayu Panah, inspirer de Kyu Do, l'art de tire à l'arc de cérémonie japonais. Le rituel de préparation, le chemin pour arriver au but et le but final sont la même importance. Etre humble et noble, trouver le point zero du départ.   http://picasaweb.google.com/tapasudana/Kyudo
23 : Questionnaire Tribuana, exprimer les contenu des Trois temps de la vie : le passé (héritage, acquis,expérience, éducation, formation, accident grave, des données  caractéristique du corps, émotion/énergie, pensée - CV ) ; le présence (le travail pour vivre, situation actuelle, les choix sur les 23 champs à explorer) et l’avenir/futur (devenir ??, idéal, rêve, aimerais être, ….. le courage et la sincérité de dire l’avenir idéale). Le passée nous fait  la présence, l’avenir attire le présence qui nous fait le travail à faire …… avec joie, j’espère.
 24:Dialogue (Mekekawin)  C'est un moment de voyager dans un chemin personnel, Vous prenez/ choisis le temps durant la pose (après midi ou soir) pour parler de votre intérêt personnel, recherche, travail, la vie, "problème" dans un esprit d'échange d'opinion/ horizon . Ou c'est possible aussi de travail en plus profondeur sur un des champs tribuana. Ou parler sur votre questionnaire et Tripass/disquette personnel. Une petite marche réflective ensemble, une dialogue, avec comme repère: connaître les autre c'est une sagesse, connaître soi-même c'est illumination/ conscience élargir.
25: Post note tribuana, après le stage, partage des notes sur l'impression de travail vécu par mail, skype, ...
26:  Gerak nuraga / Olah nuraga/ Gerak Pranatman, ...ou la dance microcosmic personnel. Ce travail de mouvement intérieur c'est de suivre l'impulsion interne profonde, le plus propre, pur, fine possible.  Pour cela il nous nécessaire de faire une préparation comme : leçon n° 0: PREP TRIBUANA, ("Méditation" déguisé à la Tribuana) pour trouver votre calme intérieur. Être végétarien est conseillé, pour mieux sonder et évoque votre divinité personnelle. Le temps de la nuit de 01h00-03h00 peut aussi mieux favorise la sérénité spirituel, si vous préférer. 

Si le théâtre est le « diamant de la vie », son but devrait être de cristalliser l’expérience/ histoire/réalité en expression, en éveillant et cultivant l’expression des « trois mondes » (corps, émotions, pensée), en suivant la voie de l’harmonie avec la nature et en s’adaptant aux besoins de l’espace, du temps et de l’environnement/l’entourage/la situation.

Pour cadrer votre choix d'action/décision dans votre mouvement /méditation, parmi des millier de repaire, de branchement de voie/choix dans la vie, voici une référence importance dans la formation du caractère d'être humain, que la voie Tribuana a adopter, sont:

LES CINQ SERMENTS / VŒUX /RESOLUTION / ENGAGEMENT / REGLES / CONDITIONS :

I. Respecter, accroître, cultiver sa nature, sa personnalité.
II. Être sincère, honnête, direct, claire et essentielle.
III. Honorer sa connaissance, son travail /sa profession.
IV. Être en harmonie avec le monde, l’entourage.
V. Maîtrise de soi

Ces 5 serments, sont inspiré par les 5 serment de 5 serment du PGB Bangau Putih de Bogor, Fondée par Maître/Suhu: Subur Rahardja, en 1952 , Silat White Crane (in English) , pour pratiquer Silat de la Grue Blanche d'INDONESIA en France, klick ici, un des site.

Selon ma dernière conversation avec Andyan Rahardja, à Paris, Hotel Kepler le Samedi 4 janvier 2014, il m'a dit que ce serment a été livré pour la première fois par Suhu Subur Rahardja en répondant des questions de W.S.Rendra en 1971-72, .... et ce serments se transmit à Suhu Subur Rahardja, de Lim Kim Bouw (oncle et maître de Suhu Subur Rahardja),  de Gusti Agung Gede Djelantik Baliwangsa (maître Silat et Roi de Karangasem & West Lombok, jadis, avant 1907....)

Il est impossible de pratiquer tous les 27 champs d'exploration en profondeur dans un temps réduit, durant 5 jour stage résidentiel, mais on peut visiter pour « goûter », aussi choisir ensemble vos préférences durant le stage. Pour cultiver le travail en continuité, il est utile d'avoir avec soit : des instruments pour faire des notes, ordinateur, note-book/papier, clef USB, appareille photo , vidéo, noter dans le corps (pratiquer des exercices tribuana = exercice avec texte, en musique dans le mouvement).

Si le théâtre est le « diamant de la vie », son but devrait être de cristalliser l’expérience/ histoire/réalité en expression, en éveillant et cultivant l’expression des « trois mondes » (corps, émotions, pensée), en suivant la voie de l’harmonie avec la nature et en s’adaptant aux besoins de l’espace, du temps et de l’environnement/l’entourage/la situation.

Un acteur (Tri Buana) doit être en bonne santé, dans ces trois mondes, ouvert et prêt-à-suivre (en service, être serviteur), équilibré et sensible, afin d’être capable d’animer (avec "dévotion") l’histoire (masque, accessoire qui l’anime) et de l’offrir au public qui est venu pour partager le récit authentique de l’histoire de l'être( ou de son être).

Le but est loin (ou prés), la voie est long mais va, va-s-y, vache (dit le fèrmier a sa vache), patience, avec le temps et persévérance l'herbe deviendra du lait. Hmmm, comment? labourer, ruminer, travailler, contempler .... Bon voyage, la joie du commencement est la moitié de l'oeuvre.

Brahman signifie l’Etre suprême impérissable. Le domaine du Soi est l’essence libre et parfaitement claire de tout être. « Agir » signifie être sur la voie de la manifestation du processus créatif qui conduit l’être à l’existence. .( Inspiré par la Bhagavad Gita, chant VIII, 3)

Tapa Sudana, Montreuil, samedi,11 juin 2005.
 mis-à-jour: 18 juillet 2012.

NEXT WORKSHOP:(prochain stage):
10 - 22 July 2006 in Paris, contact Olivier Richard 33 1 46 07 08 10, email: artmetamorph@libertysurf.fr , time from 10H00-18H00, except 16 july 2006;

Athenes, from 11-14 june 2006, contact Sandra Mavroidis: sandralala9@yahoo.gr - tel: 00302107628368.

22-27 august 2006 at teatro del Montevaso, Italia,s.p. Del Montevaso km 18 - 56034 Chianni (Pisa) tel e fax 0587 647617 : tel 333 - 8592986 / 338-9397192
contact: Francesca Pompeo & Enrico Pompeo. teatrodelmontevaso@montevaso.it



tribuana@wanadoo.fr

Origine : BALI, INDONESIE. Nom: (I Gede) Tapa Sudana
Né le 21 septembre 1945 à Bali.
Taille : 1M71 / 69 kg
Danse traditionnelle de masque de Bali.
Flûte : traversière, indienne, balinais, chinois, japonais (sakuhachi) ;
Guitare ; Clarinette ; Tabla ; Djémbé, Percussion ; Chant ;
LANGUE : balinais, javanais, indonésienne, anglais, français ;
notions d’Italien et d’Espagnol
PERMIS DE CONDUIRE B.
SPORT/ : Silat (kung-fu indonésien),Tai Chi, Kyu-do, Chi Kung , Yoga.,Tongkat.
NIVEAU d’étude : Université, faculté d’ingénieur 3 ans.
FORMATION PROFESSIONNELLE : Académie de Théâtre et Film, 3 ans à Jogya, Indonésie.
Former par /travail avec le Théâtre MANDIRI de PUTU WIJAYA ,Bengkel teater de W.S.RENDRA , danse théâtre de SARDONO en Indonésie.

EXPERIENCE PROFESSIONNELLE en INDONESIE :
Théâtre en Indonésie :Cladius dan Hamlet, Macbeth dans Macbeth, Thérisias dans Œdipe Roi. Participation à des spectacles écrits par WS RENDRA et PUTU WIJAYA. Création à Bali avec SARDONO : Kechak Teges et La Sorcière de Dirah.
1974 arrivé et travail en France, venu avec un groupe de théâtre danse musique chante masques de Bali et Java : « La Sorcière de Dirah » de SARDONO, tournée européenne.

THEATRE avec PETER BROOK :
L’ange de la mort dans L’OS ; chauve-souris, Princesse en masque balinais, Astrologue, marionnettiste dans LA CONFERENCE DES OISEAUX. Lilas Pastia, Garcia dans CARMEN, Chanteur dans TADADA ; Pandu, Shiva, Salya dans Mahabharata ; Esprit, Trinculo dans la TEMPETE.

THEATRE DANSE
Avec Josef Nadj, Acteur danseur dans « Il n’y a plus de firmament ».

THEATRE MUSICAL :
Acteur dans Oh ! Jérusalem d’Élisabeth SWADOWS à New York ;
Comedien-chanteur dans Zarzuela Thomas Breton mise en scène Alain MARATRAT ;
Janus Roi Bouffon dans « les rescapés de la dernière croisade » de Marco HORVAT mise en scène Michel HART (spectacle avec des chansons de moyen-age).
Acteur dans « das Lied von der Erde » de G.Mahler mise en scène de Yoshi Oida et maestro David Stern, Opéra de Rouen et théâtre de la Ville à Paris.
THEATRE : TABARIN (acteur-masquer) texte de Geneviève SERREAU, mise en scène David ESRIG.
ZAT, (acteur-conteur) contes soufi texte et mise en scène Ali Ihsan KALECI.
ARBRE à PALABRE (acteur-conteur) de FOOTSBARN THEATER.

ASSISTANCE à la MISE EN SCENE :
Œdipe Roi mise-en-scène DE Stavros DUFEXIS à Madrid avec José Luis GOMEZ (Œdipe): préparation des acteurs et jeu de masque.
Les Suppliants, mise-en-scène de Stavros DUFEXIS à Epidore et Athènes : musicien, préparation d’acteurs et jeu de masque.

CINEMA :
Servant dans Rhapsodie en jaune (téléfilm) ; Garcia dan Carmen ; Pandu, Shiva, Salya dans Mahabharata de Peter BROOK ; Chauffeur dans « Prêt-à-porter » de Robert ALTMAN ;
Tang le premier dan « Tang le onzième » un film de DAI SIJIE. Acteur dans « J’ai faim » de Florence Quentin. Palais Royal de Valérie Lemercier.

CREATION :
PATRA, danse théâtre musique masque de Bali avec : Netra, Soegeng, Dewi, Jacques FASSOLA
« Guru Djati » danse théâtre masque avec Patricia PASSAT et Mas SOEGENG ;
Danse masque traditionnel de Bali : avec Mas SOEGENG et Christina WISTARI au Centre MANDAPA ; avec NETRA, SOEGENG, I MADE DJIMAT à Nice ; Voyage PUNTA : solo masque balinais ;
BAYU : one-man show, solo de flûte sakuhachi, masque, danse, Silat(Kung-Fu indonésien), Kyu-do, chants.

COMPOSITION MUSICALE : Jardin de Jade : cassette de flûte indienne et sakuhachi.
Video: Parole de sagesse Tribuana, chant d'enfant de Bali, gym Tribuana - You tube.

FORMATEUR depuis 1979.
Dirige des stages de formation et préparation d’acteur « Éveiller et cultiver l’expression des trois mondes », TRIBUANA mouvement :yoga-tribuana, art martial indonésien (Silat), Tai Chi, Tongkat-Tribuana (l’art du bâton), masques, rythme, improvisation, contes, travail de groupe, totem,  bayauswara, stage en France, Italie, Espagne, Grèce, Suisse, Bruxelles, Bogota, Allemagne, Caracas, Amsterdam, Allemagne.
Stage de formation (AFDAS) en collaboration avec Ali Ihsan KALECI de AYNA centre de recherche théâtrale, Jean Paul DENIZON de AIA France, Olivier Durin de THEATRE FOOTSBARN , Le Théâtre Organic, Théâtre Métamorphose, Cie Labyrinthe Russe;
Stage formation en Italie: Teatro del Montevaso, Italia; La Luna nell Pozzo, Ostuni, Italia. Teatro Invisibile, di Padova di Antonio Cargnello e Sara Celeghin; EchoArt di Davide Ferrari; EUKITEA, GERMANY http://www.eukitea.de/ ; Teatro Granara, Italia; Director C.A.R.A. Elencoactoral www.elencodeactores.blogspot.com SPAIN; 

CONFERENCE pour "7 Caminos Teatrales", Guanajuato Mexico por Jeito Producciones, Amaranta Osorio, Madrid..