Performance Notes Datuk Layau

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Element Without Performing Theater

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.

Interpretation with the title theater often has a tendency actualization 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 dimanpatkan 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 basic of creativity is not new in the modern theater of Indonesia. Similar tendency has been foIMAGEr 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 ethnic identity, put the story Datuk Layau (Kek Layau) derived from the ethnic Bangka, is a sign marked with wearing the device present in the theater, Datuk Layau (bloodshed in 1850) which premiered at the Theatre Lantera Pangkalpinang city mayor's office of the court house Pangkalpinang on 29-30 December 2007 with director Willy Siswanto, appears-along show-metamorphosed pengerucutan interpret the symbols with the power of oral tradition (oral) Bangka ethnic culture. Performing along more or less the 80 minutes it really is in the grip of "power" director commentary. The story is lifted from Datuk Layau speech tradition (oral tradition) like a realist painting diresepsi be dramatic story of heroism, and performed by trial and error as realistic as possible, but it stutters.

At this writing, actually I do not want to discuss about the theatrical elements, directorial concept, the concept of the show, and others associated with the dramaturgy. I avoid these conversations because it was Datuk Layau theater performances can not be seen from the glass eye. Facility limitations, and conditions where the performances are very minimalist, cause I could not talk to the elements of theater.

However, the show has passed. Datuk Layau have enjoyed staging public. One side, namely the audience entertained, has been reached. Message about Datuk Layau figure, a fighter from a small village named Bakam in challenging the colonial Dutch, was up again on the public.

Then, just before the show Datuk Layau with all the preparation that I woke up in my mind, was not as beautiful as I imagined. Message from the officer took his time before making an atmosphere that seemed seremonialis become truly a ceremonial art shows.

Half Datuk Layau theater that is so boring, I started remembering what was said Eugenio Barba and his colleagues in a writing. Eugenio Barba in the article entitled Anatomie de L 'Acteur (1985) translated into Indonesian Yudiaryani mentioned: the word "text" before showing the text written or oral, printed or handwritten, then knitted together. In this sense, there is no present without a knitted play together without the "text". That is, what is associated with the "text" (knitted) can be interpreted as' dramaturgi'-which means-a drama-eregon work, the appearance of the workings of a behavior in the performance plot. It is difficult to distinguish the approach of dramaturgy, staging is considered to be "directing" a director and what is referred to as "writing" an author. The difference is clearly visible only through the cultivation of theater, through the interpretation of a written text.

From it all, consider a claim results theaters, which produce theatrical performances, viewers will be faced with what is called a behavior. Behaviour at the center of attention in the dramaturgy. Attention is given not only what didialogkan actor, but also the voices, the transformation properties, the dimensions of space and time, light, music, character, emotion, tempo game, and sold as a "text".

Behavior of the actors brought to the stage did not strengthen my memory and imagination to the figure of a warrior and scholar named Kek Layau. Property dimensions of space and time, music, character, emotion, and so forth, my memory fails to reconstruct the past. Theatrical performances are full of surprises, as if to stop that night. Performances do not succeed Datuk Layau menyugesti my readiness to stand in the bleachers.

Weak on the Concept

Theatre which was built by construction and a solid foundation, he will be transformed into a show that is ready to appear anywhere. Performing as a staging area rather than the price of property taken as dead. Theatre the obvious concept of staging and performances, it will not stutter when performed on stage anywhere: the theater is closed, open, arena, and in the open field though.

Datuk Layau actually problematic performances from the side of the venue. That is, the concept of the show is not yet ripe to make tonight's performance seemed to lose momentum. Director who is responsible in this area like never imagine about space and time, property, and also the stage composition. Consequently, to say the evidence of immaturity of this concept is the exchange of "rounds" with the demise of the code lights. In this way clear, the director does not consider the atmosphere surrounding the lamp still lights up continuously. For me, this concept can work if the show performed at the theater closed. As I mentioned above, about the elements of theater it was hard to diperbicangkan further in this Layau Datuk performances.

Another aspect that is very influential on the result of concern is about the manuscript. Manuscript as uric performances are visible from the dialogues of which communicated players on stage, still seem artificial, verbalistik, and tenuous.

The consequences of a script which depart from the real story is the character which should not be below the actual character. Layau Kek, one of the fighters, he will lose the aura and charm, when he played in the verbalism levels. And what happens on the stage, the role of charismatic Datuk Layau like losing.

In this limit, the study of sociological, anthropological, psychological, and culture also becomes very important. Although there were attempts to come to the village Bakam as a form of observation, but invisible in the show altogether. Players like kahilangan character, the director seemed to lose the concept. And the show Datuk Layau that night, like watching theater without theater elements. But, an attempt has been made: theater performances. A breakthrough in public when Bangka miss performing arts. **