Performances Theatre Old Track Padang

Ridicule of the Minangkabau

By Nasrul Azwar

I quote Wiratmo Soekito (1984). He wrote, "Every great work is a political play, like the work of Le Mariage de Figaro Beumarchais (1784), which predicts the outbreak of the French Revolution (1789) or works of Chekhov" Vishnyvy Sad "(1904), which predicts the outbreak of the Russian Revolution (1917), or the works of Shaw's Heartbreak Hoese (1919), which predicts the outbreak of World War II (1939). "

I do not want to imagine that the script works Chairul Anggang Aaron Prince is suing darek power dominance of shoreline areas. Also, I'm not predicting-as the quotation above, will be a big revolution to change the systems that prevail in the Minangkabau matrilineal to patrilineal or parental plus system, which was once discourse Syafroeddin Bahar few years ago. Indeed, since the script was born, in the end, remains as a playwright. Nothing more. There was no revolution.

Chairul Kayutanam Aaron was born in 1940, and died February 19, 1998 at the Padang. Prince Anggang plays written in the 80s. In addition, there is also a playwright Last Days Datuk Katamanggungan a birth before Prince Anggang.

On July 28, 2006, at the Cultural Park Theatre Closed West Sumatra province, Padang Theatre Old Track, brought the manuscript to the stage, directed by Rizal Tanjung. Like the previous claim, namely the Dragon Tribe Struggle Rendra works ever staged on 10-11 June 2004 at the same stage, the pattern of cultivation, and the concept of directing and stage, do not shift. Some symbols and elements that exist on the stage, even consciously presented back on stage performances. At the Struggle of the Dragon Tribe, a few scenes that uses reflection of light from the shadows, also appeared the same to the staging of Prince Anggang. In this limit, which is to say that the pattern of cultivation stage Rizal Tanjung, it seems, has not moved further into the exploration stage and body characters. At first glance, he still believed and relied on the "strength" of lights and shadows that result.

Opening a lot of alternatives for exploration, both in the realm of stage properties, lighting, music, text, body, character, and visualization by using other media, in the theater world, clearly become a necessity. Galibnya performing arts theater, the force was adopting does not close the options. He opened wider and also a symbol of the conflict. Manuscript Pengeran Anggang laden with conflicts of power, political symbolism and also the dominance of female power. Story center-suit against the prevailing system of matrilineal Minangkabau Prince Anggang figures who still believe in the power spirit god heaven, and the hypocrisy of his spiritual adviser, Katimuno, (King called him by his father) who is played by Ery Mefri, and confidence in Datuk Parpatiah Nan Bana ( God) as well as disagreements with King and the Reverend kabijakan, a conflict called religious beliefs, politics, and power.

In the story, Prince Anggang (played Dadang Leona) as king in Minangkabau but no power. And cultural systems of power that prevail in the realm of Minang not accommodate the king's power absolute. The story begins with a Pengeran Anggang Minangkabau conditions of peace and its people prosperous. However, the peace was disturbed when the squad came into the realm of Minang fleet to include a strong combat forces led Anggang. Facing the enemy, the people of Minangkabau clearly not capable, then the choice of negotiating with the enemy be the perfect solution. So, Anggang was made king in Minangkabau who only have power in the shoreline or coastal areas.

All Anggang desire fulfilled, and has a palace where a wife is residing. Datuk Perpatih (played Herry Ghoib) also provides her own sister Jamilan Puti (ERI dilakonkan Komachi) as consort Anggang. Datuk Perpatih opinion, if you have children, then, according to Minangkabau adat system boy is the nephew Datuk Perpatih entitled to inherit the title and inheritance. Meanwhile, Anggang considers her son from her marriage with Puti Jamilan crown prince will be entitled to inherit the throne.

People are Not "Become"

Prince Anggang problem in the script is a representation of the Minangkabau-antithesis dialectic-thesis-synthesis-with all the cultural and religious beliefs conflict. The entry-put to understand the different ideologies and religions with the fad-Minangkabau society brought Anggang entourage, at least show the Minangkabau cultural attitude that is very open. Conflict and open war, which should happen when the troops set foot Anggang in Minangkabau, could be avoided with the ability and a very smart strategy. Negotiations Datuk Parpatih with diplomatic shrewdness Anggang is a picture of Minangkabau society at that time.

However, the above penggung Rizal Tanjung-in-hand script, such as impoverished kutup antartokoh conflict, and deeply felt the restrictions on the appearance of the possibilities of creating a new meaning on the stage. The present characters on stage are not able to get out of kehariannya. Present such figures as we encounter every day. Dramatic events that become necessity in a theatrical performance is not achieved. Scripts that require strength of character seems to be something very difficult for the performers.

For this, I believe what has been written and kawankawan Eugenio Barba, in 1985 in a book Anatomie de L'Acteur, the possibilities of dramaturgy all levels and different staging elements strung together one after another, like the fabric of the plot. Actor gets simultaneous effect as soon as he decided the movement scheme. Actor design the behavior becomes a synthesis that differ greatly from the attitude kesaharian life.

In Prince Anggang performances, all the characters, namely Prince Anggang, Datuk Perpatih, Puti Jamilan, Katimuno, Tan Gurano Tejo, and Puti Kusumbo, sets each scene without the simultaneous effect of each other. People are in the actual text is still in the level of "text" which dihapal. Figures have not signed on in-depth observation and research related to psychological characters, themes anthropological texts, and also historical. And things like this, not just experienced players Theatre Old Track Field, also occur in groups of other theaters.

However demikain, the theater remained a manifestation of social and political upheaval. And the director will still vote for the most possible position to laugh at anything, including culture. While the script will humbly say: theater exists because I exist. *

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