m e d a n
Rachman Sabur. Foto: dokumentasi Teater Payung Hitam.
a s o s i a s i
oleh hal yang fisikal, oleh bahasa dan
sistem gramatikanya (termasuk bunyi,
gestur, respon kinetic), atau juga
barang bekas.
lepas.
jatuh.
Oleh Afrizal Malna
benda dan tubuh
adalah rumah bagi
pengalaman atau
pengalaman adalah
rumah bagi benda
dan tubuh
(esai pertunjukan dan Taufik Darwis. Foto: AFrizal Malna
Tapi penjelasan dari TPH lewat diskusi itu tetap menarik saya,
dengan hasil penandaan pada penjelasan di diskusi, saya coba
mengingat setidaknya perubahan yang terjadi dari pertunjukan
Segera bersama Camille Boite ke pertunjukan Posthaste di
34 tahun TPH (2016). Segera adalah pertunjukan yang sesak
dengan plastik, bukan karena atmosfir pertunjukan yang mem-
buat kita mengalami empati dan merasakan sesak di dada, tapi
karena material artistiknya yang memenuhi panggung. Pilihan
untuk menghadirkan kisah dari serangkaian efek kecemasan
di antara jarak tubuh dan benda, membuat saya bertanya, apa-
kah benda mempunyai pikiran dan keputusannya sendiri da-
lam menentukan, kapan dia jatuh, kapan dia rubuh, kapan dia
mengacam dan kapan dia melindungi? Atau apakah itu semua
juga disebabkan manusia modern, pikiran manusia yang ada
di dalam pertunjukan? (link youtube Segera: https://www.
youtube.com/watch?v=glntx4tsNtI).
Kerensa Dewantoro
Theater Maker
DarahRouge
http://darahrouge.blogspot.
co.id/
Chaos, things falling down, contemporary physical theater and pol-
itics all meshed into an essentially pure concept of theatre that re-
lies on the actors and their actors bodies - their physicalities, their
expressions, the sounds created as they moved through space and
refreshingly with no technology is what PostHaste is about.
It may have been that I had already seen it twice before in this for-
komite teater dkj 2017 ! 11
mat, but it seemed last night some of the initial magic had been lost
in an attempt to ascribe even greater meaning to what was already
dense with imagery. It also seemed Payung Hitam was making an
effort to make PostHaste seem more artistic. However, for my friends
who were watching it and seeing for the first time, they loved the
symbolism, the use of stage, the performers. Celia F commented,
PostHaste Teater Payung Hitam: Graha Bhakti Budaya, TIM,17 Mei 2017. Foto: Eva Tobing,
dokumentasi DKJ.
For me personally, the show last night had lost the stark, bright lights of
the shows in Bandung which had helped us, the audience, really feel
the terror of objects dropping and crashing around the stage on top of
Mohamed Wail Irsyad. The actors expressions were hidden in shadows
and the lack of brightness created a distance between the audience
and the performers. The chaos had begun to feel staged. Some of the
danger was lost. My single biggest complaint about the performance
komite teater dkj 2017 ! 12
this time was the lack of lighting. The bad lighting actually made it look
a lot less professional and detracted from not only the danger inherent
in this performance but also the beautiful articulation of the some of
the actors work. As an audience we seemed to be watching the show
in soft focus, when in fact with the chaos and the title PostHaste what
we want and need, is to see the nuance of ugliness, chaos and pain - it
cant be covered up in artistic mystical lights.
Some of the new theatrical metaphors spoke to us on multiple lev-
els - rich in social and political criticism.The chain saw at the end
was alight with imagery of a disintegrating Indonesian state - one
destructed both environmentally with deforestation and the loss of
common land for children; the disintegration of Indonesian plural-
ism and a culture of bullying - those with the loudest voices and re-
ligious self-righteousness can sway power; a culture of gender vio-
lence. The whimsical elfin like character played by Mohammed Wail
Irsyad danced poetically imitating the movement and gesture of the
pot plant at the end on top a wooden painters ladder when a chain
saw (which initially we had thought was a motorbike) came out from
the Indonesian flag waving viscously and moving dangerously close
to Wails foot and then chopping the wooden painters bench in half.
Whilst I felt that some of the newly symbolism had great potency
there were others that just seemed to be trying too hard. A TV play-
ing, which on some level seems to be representative of those of dis-
advantaged economic background (- ojek drivers watching tv on the
side of the road, local members of the RW watching tv at the warteg;
hoarding a broken TV because one is to poor to fix it and so poor
that the fear of never getting another is too painful), didnt really add
to the show. The tv metaphor is an over done cliche. The introduc-
tion of the song GENJER- GENJER which is a traditional song from
Banyuwangi and sung in social criticism of Soeharto (and used way
to conjure images of the treatment of Indonesia Communist Party)
replaced the hilarious little scene Nugraha Bazier Susanto teaching
bad orchestral music was a loss to the performance. (Though, it want
one of my favourite scenes in the production in Bandung- I certainly
missed it in this and realised the importance of that little bit of comic
relief actually enhanced meaning of other aspects of the show.) The
effort to be political detracted from the mood of the performance
komite teater dkj 2017 ! 13
and then to add injury - actors ate the vegetable GENJER. It was a
little like mixing butter and oil - too much. Reflecting back on what
happened to communists is relevant but it is done so often and un-
fortunately there are just far more potent issues facing Indonesia now.
berganti lagi.
teater ini harus mencari atau kedatangan orang baru yang ingin be-
raktifitas dalam teater. Sebagian mereka yang pernah menjadi aktor,
setelah keluar dari kelompoknya, tidak pernah melanjutkan perjala-
nannya sebagai seorang aktor.
Hal yang sama juga terjadi pada Teater Payung Hitam: usia 34 ta-
hun tidak sepenuhnya merupakan kuantitas maupun kualitas 34 ta-
Tony Broer Foto: Afrizal Malna