Breaking Stage Barriers: Inclusive Theater and Spatial Orientation Techniques for Blind Actors

Kartunet - Participation in cultural and artistic life is a fundamental human right absolutely guaranteed by the state. In Indonesia, Law No. 8 of 2016 explicitly guarantees equal opportunities for persons with disabilities in all aspects. This right is further strengthened by Government Regulation No. 70 of 2019, which encourages opening opportunities and participation for persons with disabilities in the arts so they can develop their potential and compete equally. However, how is this implemented in practice, especially in theatrical performing arts, which heavily rely on spatial and visual aspects?

The vibrancy of inclusive performing arts is, in part, brought to life by Yuda Wirajaya (Barokah), a blind theater student who pioneered the establishment of Teater Brail in Yogyakarta in 2021. Starting as an audio drama workshop class, this community transformed into a stage theater group where the actors, scriptwriters, and even music directors are visually impaired. Their presence dismantles stigma and proves that visual impairment is not a barrier to mastering a vast performance stage.

Spatial Orientation Techniques: The Mathematics of Steps on Stage

One of the biggest obstacles for blind actors performing on stage is the fear and hesitation when they need to move (moving) without bumping into the stage setup (props). To conquer the stage, Kak Yuda devised a highly measured and mathematical spatial orientation method.

The primary technique involves counting steps and repeatedly practicing stage blocking. This exercise is conducted in two phases: when the stage is empty and when props have been set up. For instance, the distance from the backdrop to the stage center might take 10 steps on an empty stage. However, once props like chairs or levels (tiered platforms) are in place, the calculation must be adjusted to just 5 or 6 steps. This precise step counting and spatial memory ensure that blind actors can move agilely and safely on stage without compromising the aesthetics of the space.

Auditory Improvisation: The "Cough Code" Tactic for Forgotten Lines

The dynamics on stage demand that actors be ready for unexpected situations, one of which is forgetting lines (going blank). Unlike sighted actors who might look for visual cues from a prompter or fellow actor, blind actors must rely on their auditory sensitivity.

In practice, communication among backstage crew (such as lighting and sound operators) is facilitated using Handy Talky (HT) communication devices. Meanwhile, for actors on stage, they agree upon vocal improvisation codes. If an actor suddenly forgets their lines, they can give a signal in the form of a cough. This cough code serves as a warning signal to their fellow actor that they are struggling for words, prompting the other actor to immediately take over the dialogue and improvise so that the audience does not notice any script error.

Harnessing Blindness as an "Advantage"

Beyond technical constraints, another major challenge is conditioning the mental state of blind actors, most of whom do not have an arts education background. Many initially felt a lack of self-confidence.

To address this, Kak Yuda, as the director, always motivates his friends to shed the burden of their "disability" identity when on stage. He encourages the actors to move as freely as possible; even if they occasionally bump into the stage setup, they should embrace it as a natural part of the acting. Interestingly, this inability to see is transformed into an advantageous weapon (a "plus point"). While sighted actors often get nervous and forget lines due to seeing thousands of eyes staring from the audience, blind actors are freed from this pressure. Their blindness makes them feel as if no one else is in front of them, allowing them to express themselves maximally and uninhibitedly.

Theater as a Medium for Advocacy and Destigmatization

Theater performances by persons with disabilities ultimately serve not merely as recreation or entertainment, but transform into a deeply emotional medium for cultural advocacy. Through the plays they perform, such as the production titled "Ada Karena Cinta" (Existing Because of Love), Teater Brail targets the wider community, especially parents of children with disabilities.

Witnessing blind actors perform brilliantly under the stage lights deeply touches the hearts of parents, convincing them that children with disabilities have a bright future and should not be marginalized. The state and society must genuinely support efforts to fulfill these rights so that every person with disabilities can fully and equally develop their intellectual potential, talents, and artistic creativity. (DPM)

References:

• Law of the Republic of Indonesia Number 8 of 2016 concerning Persons with Disabilities.
• Government Regulation of the Republic of Indonesia Number 70 of 2019 concerning Planning, Implementation, and Evaluation of the Respect, Protection, and Fulfillment of the Rights of Persons with Disabilities.
• Bappenas, et al. (2021). Buku Memantau Pemenuhan Hak-Hak Disabilitas (Book on Monitoring the Fulfillment of Disability Rights).
• "59th Pertuni Anniversary Webinar: Empowered by Words". YouTube Indonesian Blind Association.