From Acting to Theatre Conception: An Inherent
By Nasrul Azwar
At the Performing Arts Second Year Arts Council in 2002 which was held in West Sumatra, Experimental Theatre, Faculty of Letters Unand KPDTI comes with a performance entitled "Level", the work and the director Prel T.
At that time, Prel T says, "Level" dealt with the concept of engineering experiments is an aesthetic focused on the show. The whole is dominated by the concept of functional pengadegan. Formation sets in addition to static, dynamic as well. So naturally formed through the formation of sets of scenes. The central performance is a space (not field). Fully utilize a number of levels (in various sizes) as the main property.
Experimental Theatre Performing KPDTI it has passed 5 years ago. At that time, I noted, the show "Level" to succeed in an experimental concept, but the stutter in the delivery of content and acting out. So that is visible on the stage is like a preacher deliver kutbahnya. Ideally, a theater, of course, both cultivation and characterization of-concept-an inherent and integrated. Both should be equally fought.
Last weekend in July last, July 21 and July 27, 2007 in Padang City and Padang Panjang, the public theater performances presented by the experimental theater that also garapannya, namely, theater performances, entitled "Ladder" which was staged by the Community Arts Padangpanjang Black-White, director Yusril.
From information obtained, "Staircase" is derived from two works of different authors, that is poetry "Ladder" by poet and playwright Iyut Fitra "Level" by T. Prel The core of the story around the power system in Minangkabau sourced from ideology Datuk Katumanggungan (Koto Piliang) are more likely to feudalistic and Datuak Parpatiah Sabatang Nan (Bodi Caniago) that lead to a democratic and egalitarian. Both dichotomous ideology is not understood by the Minangkabau people, but rather at the level of synergy.
Staging "Staircase" imposing the will to deliver such a case. Then came the sentences that come out of the mouth of the characters on stage, like bajanjang up batanggo falls (cascade up bertangga down), duduak sahamparan, tagak sapamatang (sitting and standing sehamparan sepematang), long and slender wooden indak dikapiang (no wooden ladder dikeping) diimpik jatuah is long and slender (already fallen affected households), and others who are social idioms that are very familiar with the Minangkabau people.
Tonight's "Staircase" is built into a site or sites within a socially constructed space with a symbol which sometimes loose its relevance. Niridentitas figures given load is quite complicated and rijit to manifest the symbolic meanings in a room filled with wishes, desires, and ambitions, which finally all out of control and out of focus. Staging "Staircase", that night, July 27, 2007 at Culture Park West Sumatra, such as loss of concentration and forget the true basis has become the Black-White Community strength over the years, namely exploratory and visual semiotif. And I compare this with previous performances of "Waiting" and "Door", just to mention an example only.
Signification practices or activities during the creation of meaning that is so rich is present in every claim the Black-White Community Art, as if not I meet again in "Staircase". "Ladder" as a theatrical journey anticlimax of this group. In my note, and this could be debated again, that the Black-White Community Art felt less fit to play in the themes associated with the tradition of the Minangkabau culture, and they seem to have learned more associated with the Minangkabau.
However, so far, in fact, this group has found its form in the realm of explorative with contemporary themes that are universal, and postmodern issues. And this force has indeed awakened this group since its establishment in 1996.
Throughout the nearly one hour performance "Ladder" with actor penjejalan bodies, which he said functional as stage properties and functionalization propereti stairs (the same number of lots with actors, that is 8 (eight), certainly gives the other colors in the development of theater in West Sumatra. At the very least, the conception of cultivation and staging forms, for I was indeed different from other theater groups. Strength aesthetic conception that opens the possibilities of interpretation on the stage, is the excess of "Ladder", but-as mentioned earlier in the play-haw.
Eighteen of the steps that brought each player, such as videp clips presenting fragments of events: the stairs sometimes constructed as a tool to gain power, the power of the prison building, a tool for the ruling oppressors, tower of power, power divider, bridge to power, load power , casket body due to power, and so forth.
By wearing a red dress, eight men and eight levels, which is difficult because the dizzy emotional identified the eight people who were at that stage niridentitas: They did not have a node in a social level. So, it's impossible. Unravel the identity of the eight figures that would be reduced in a stable social structure. They are not located in a social regularity using social patterns are established. They are the social representations that tend resistensif against the social order.
So, all the dialog that appears above the stage, such a noise. The sounds are manifested in a variety of motion and construction of symbols. Symbols are built even sometimes contradictory figure, with the word. The words are just screaming in the middle galaunya social system and power.
Thus, content susungguhnya no longer need to be verbally conveyed an actor, became lost their meaning. Utterances are issued from the mouth of an actor, become artificial. Sometimes, dialogue or sentence that jumped it, in contradiction with the building "events" ongoing theater on stage. In the tradition of the Minangkabau, saying bajanjang up batanggo not understood verbally and artificially by making the motion down the stairs, but rather the mechanism and regulation in making wise decisions. In "Ladder" actors to move up and down stairs with a very verbalistik.
otion, which seems a lot collaborated with choreographer, looks could not confirm that writer meaningful text. Figures, because so much of the burden "ladder" to be conveyed, looked tired. The use of language in a range of one hour, as impressive as not resulting from a complex relationship between words, and not depart from the characteristics of the essential figures. The meaning of words and sentences dialogue figures did not find the relational and contextual. Some symbols are constructed out of a verbal character.
Thus, several aspects that need to be further discussed so is a matter of understanding the actors and the script itself. The process of theater is not merely to the form of the show, but, the theater is also related to understanding the extent to which actors and other elements (music, lighting, and also the spiritual advisor to Community Art Black and White) on the themes that worked.
In "Ladder" I see how the actor is less so familiar with the so-called symbols and full sentences are used as the basis of philosophy claim Black & White Art Community. And a similar case also occurred at Experimental Theatre, Faculty of Letters Unand KPDTI enacting "Level", although for the present symbol, indeed richer Yusril.
But the interesting side is the utilization and exploration stage performed quite innovative Yusril: Performance may be present in the wall beside the stage and the stage. What is said by "spatial" seem to find reality. Thus the force would be understood as meaning a practice involving objects (stairs and the space stage) in relation to build a visual as a sign of cultural semiotics.
Beside that, one thing is also interesting, I saw this show a success from the audience side, approximately 200 out of the audience meets Main Theater Cultural Park West Sumatra, that that night. But, I also wondered whether viewers enjoy the show comfortably? Fingers crossed.
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