Apa yang berubah—dan apa yang tetap tinggal—dalam riwayat diri setiap kali ia dituturkan kembali pada kesempatan, tempat, dan waktu yang berbeda? Curriculum Vitae, 2000 karya rokateater membentangkan spektrum pencatatan sejarah melalui tegangan antara fiksi dan kenyataan, yang personal dan nasional, juga antara teror dan kuasa. Ingatan kolektif yang tersusun dari riwayat hidup para aktornya dipinjam sebagai dokumen untuk menelusuri sebuah masa transisi: Indonesia dalam Reformasi sekaligus masyarakat dunia yang menatap milenium.

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Para aktornya sendiri berada di ambang peralihan generasi—dari milenial menuju generasi Z, yang tumbuh bersama rezim teknologi digital. Seluruh perubahan itu berangkat dari lanskap Madura–pemburuan dukun santet, ninja, dan berbagai ingatan diri yang terus bertransformasi bersama dengan perpindahan tubuh, bahasa, dan pengalaman hidup para aktor.

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Di sini sejarah tidak hadir sebagai rangkaian fakta yang utuh, melainkan sebagai sesuatu yang terus dinegosiasikan melalui tubuh, tutur, dan ingatan. Curriculum Vitae, 2000 mengundang kita menatap teater bukan sekadar sebagai ruang re-enactment masa lalu, tetapi sebagai medan tempat yang samar, yang tak sepenuhnya tercatat, yang luput dari arsip diposisikan. 

What changes—and what remains—each time a life is retold in another place, at another moment, and for another audience? With Curriculum Vitae, 2000, rokateater approaches biography as an unstable archive. The work unfolds a spectrum of historical narration through the tensions between fiction and lived experience, the personal and the national, terror and power. Drawing upon the life stories of its performers as documentary material, it revisits a moment of profound transition: Indonesia at the dawn of the Reformasi era, alongside a world crossing into the new millennium.

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The performers themselves inhabit another threshold. Situated between the millennial and Generation Z cohorts, their lives have been shaped by the emergence of digital technologies and the changing conditions of memory they produce. Their narratives return to the landscape of Madura—where memories of dukun santet hunts or witchhunts, the "ninja" panic, and other local histories become inseparable from the actors' own movements across places, languages, and lived experience. As these trajectories shift, so too do the stories through which the self is continually reconstructed.

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History, here, is not presented as a coherent sequence of verifiable facts but as something continually negotiated through bodies, speech, and remembrance. Curriculum Vitae, 2000 invites us to encounter theatre not as a site for reenacting the past, but as a medium through which history remains unfinished—where the ambiguous, the unrecorded, and the unarchivable continue to insist on their presence. It is precisely within these gaps, where official narratives begin to fray, that another history becomes imaginable.