Minangkabau Cultural Commentary of Two Texts
By Nasrul Azwar
Interpretation of the text has become a powerful regional theater director who most absolute. In the area of immense cultural texts, the director of the jungle penetrated the icon, a symbol of cultural and other social bookmarks to be realized in the estimation of space and time in one frame of the stage with creative director accountability.
Direpsentasikan interpretation with the title theater often has a tendency pengaktualisasian thematic with current conditions. Text cultural (tradition) of the underlying footing and foundation become creative director for the spread of a "historiography" of travel time, say, ever since the emergence of a story with an oral tradition to written tradition until the present moment. Long period or epoch-it-looks stunning in a single framework can stage with a short duration of the story by theater director. Almost all theater groups in Indonesia do not get out of such patterns and interpretations.
Looking back (tradition) as the basis of creativity is not new in the modern theater of Indonesia. Similar tendency has been for long. In this interpretation, there is a "vanity tradition" of the past who became the pride of creativity. In this limit, accidents often occur-such as commentary expressed Ninuk Kleden (2004)-the notion that culture can play a role as an ethnic identity has theoretical consequences which requires people to treat culture as a "sign". While thinking about the relationship between the sign (signified) with a marked (signifier) has undergone a change. If the original relationship it may be said to have a single meaning, now is not the case anymore. Thus, the interpretation of the representation of identity, in this case, ethnic identity, not a linear relationship and is not a relationship that final.
Commentary on the representation of identity etinik, put Kaba Aluih Sabai Nan Minangkabau ethnic group originating from, is a sign marked with wearing the device present in the theater's Women Named Sabai, which was staged at the Park Theatre Cultural dot Padang in West Sumatra and on 6-7 August 2005 August 13 at Tapian Balingka Nagari, with director Syuhendri, appears-along show-metamorphosed pengerucutan symbolized by denying the power of oral tradition (oral) Minangkabau ethnic culture. Performing along more or less the 50 minutes it really is in the grip of "power" director commentary. Kaba Sabai Nan Aluih as oral tradition of realist painting like that diresepsi then interpreted as a surrealist painting by naming the woman Named Sabai. The power of words in the Sabai Nan Aluih Kaba was no longer found in the theater's Women Named Sabai. All have been replaced with signs and symbols are presented on stage.
Age range, since Kaba Sabai Nan Aluih Dr. Ph. S. van Ronkel in TBG. deel 56-1914 (Anas Nafis, 2005), until the woman Named Sabai, this story has indeed been open to be interpreted by anyone. However, it will be very different and need to be questioned also why when the woman's presence was not associated with Bernama Sabai Sabai Nan Aluih Kaba. It is clear linkage has been going on in the area of text interpretation Kaba Sabai Nan Aluih by passing an oral cultural codes to create new texts with contemporary cultural codes according to the director commentary.
According to Anas Nafis (2005) in the introduction to adaptations of classical stories Sabai Nan Aluih Kaba, true tale or story Aluih Sabai Nan is not arranged in the standard structure of Minangkabau adat. In the story narrated kill Rajo Rajo Nan Panjang Babandiang, namely the father of the Sabai because her application was rejected. In Minangkabau customary role of a father or decide not match her children. As a sumando in his wife's father's family may be regarded as a handyman aminkan only. Rajo Nan Panjang should angrily to the mamak Sabai, because mamaknyalah a role in determining mate Sabai and not his father, namely Rajo Babandiang.
In the show's Woman Named Sabai work / director Syuhendri ideas that do not appear much different from the source of the story, but the woman Named Sabai larger portion Sabai addressed to struggle against its existence as a woman.
Mamak in the structure of the genetikal Minangkabau adat was the brother of the mother. Mamak very dominant position and importance in family and kinship, Minangkabau matrilineal system. In the classical texts Aluih Sabai Nan and also on the theater's Women Named Sabai, mamak position does not appear, and from it also irrelevant mamak sue and seek a position in the second manuscript. Because aksentuasinya will be different.
In the Named Women Sabai storytelling position within the capacity of "audio visual" which took place on stage. In a classic tale Aluih Sabai Nan held the position of storytelling or a storyteller with the capacity of artisans kaba "audio" minus the visual. Of the two stories that left the region in the same spot that marked the history of each, symbolizing the different signs and markers. This means that cultural transformation has occurred in the context of the changing meaning. Thoughts about the relationship between the sign (signified) with a marked (signifier) has undergone a change. Women's Bernama Sabai is a cultural marker actual director with the power of interpretation, whereas the classic tale Sabai Nan Aluih occupying power of interpretation in the "text" that the repairman kaba. There are two areas of historical cultural dialogue with its own language.
In addition, the choice of playing Theatre in the open spot in association with the actual text that has been so united with the Minangkabau people, for me is the right choice. Sabai Nan Aluih Kaba is a classic folk tales have been familiar in the everyday activities of Minangkabau society, and almost everyone knew him. Options outdoor performing arts are also associated with the Minangkabau Randai played outdoors (galanggang). Options such synchronistic show that linking two text areas. Kaba Sabai Nan Aluih is folklore that often played in performances Randai in villages in West Sumatra. Then, show the woman who staged Theatre Sabai Bernama dot no more as the "reincarnation" in the public reception has to sink in the living-room "imagination" them.
From it all, That woman show, held at Sabai Bernama Tapian Nagari Balingka Agam District on August 13, 2005, which is audiennya village community itself, the audience was very enthusiastic reception. And very different from the show that was held earlier in the Culture Park Plaza West Sumatra, which had the audience no longer has a memory recall with Sabai Nan Aluih kaba text.
In this limit, the theater was a very open position to interpret. Staging dots show the power of interpretation which takes place in a reception and memory recollection audience looked very dominant. Public spectators in Nagari Balingka more freely gives new meaning to the text presented in galanggang theater audience rather than at Padang. Enrichment of interpretation developed in the public memory with referential who had stopped over in memory of their childhood, while the reception and public referential woman who witnessed the show at the Sabai Named Padang distorted interpretations. That is, they are less flexible. *
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