“EUROPEAN WAYANG”, ELUCIDATE GENOCIDE WITH JOYNESS

CASSANOVA THEATRE “RAMBUT PALSU” Resume , GK Dewi Asri 23 October 2012

 By Riyadhus Shalihin

“Theatre going more and more sexy, because theatre will take our life with his way” ( Afrizal Malna)

Photography By May Lodra Nurohman

As the first theatre was a ceremony, theatre is more than art technic because they “celebrate the mean of pluralism and differentiation beyond the sacred communitarian”. During this time Theatre make a magnificient territory for a purify statue of human, Aristoteles called it “catharsis”, it was so long time ago when the spiritualism of art hold the rule of ceremony, but still there “catharsis” nowadays, when all the information spreaded faster than your heartbeat and they smashed into little part that hided in your phone,in your television and in the internet, where is spiritualism purify hided .
Ceremony of Theatre divided into 2 type, The first aimed into Aristoteles theory but the second theory said “celebrate the mean of pluralism and differentiation”. For the first we remain’s what is the function of art generally, Theatre especially for this life. Theatre live and exist to reach the opposite line of human hatred, Theatre planned a big meeting in the performing hall to take our cold mind,cold body,cold heart for hang in a warm ambience of humanism. Cold mind who hided in joyable of internet, cold body who hided in joyable of television and cold heart who hided in joyable of consumerism, to hanging out together and pray in the celebration of  body meeting, face meeting, adrenaline meeting, sweat meeting and breath meeting, to find the onthological core of humanism. So far it’s the archaic mean of thatre that exist until now although television and internet has token our body , Theatre will exist to gathering the originality of humanism.
New rite of multimedia age
Theatre is a totally performing art, that was the shape of aesthetics communication that I caught in RAMBUT PALSU performance By Peter Karvas, directed by Wangi Hoediyatno From Cassanova Theatre and Racksiwa Priwansa as art director. The Core of Performing art especially theatre it was the party space between actor and appreciators, but there was a side ornamentic of theatre that was never explore by theatre artist, it the capability of theatre who can maximize all the tools of art to became the unity of performation. Dewi Asri as central hall of performance have 3 space, it was parking space,basement space and centre space of drama, Wanggi Hoediyatno and Cassanova Theatre make a strange strategy to fill the theatre atmosphere from beginning until ending of the show, The suspence of beginning signed with a rude of Nazi’s bandit who ride some old germany motorcycle in front off Dewi Asri hall, they rode their motorcycle like a scum to give a “bastard shocking shape” from the first of performance, After all noisy rided they stop and the head of “boldy assassination” come to the podium of parking stage to claime some announcement, HAIRY and BOLD it was a keyword for the rule of this performance, HAIRY it a symbolism sign for GERMANY SOLDIER and BOLD it’s a symbolism sign for JEWS SOCIETY. Basement of GK Dewi Asri created to be a field of act foreshadowing, it was an experimental grave to explain the victim of Holocaust genocide, some performer laying between sharped wood and blooed light around them, there was a woman,children and man drowned with a void face and blinded vein wait until the ultimate of darkness claimed their soul to the real dead, real cremation.

Photography By May Lodra Nurohman

As the meting hall between artist and appreciator, RAMBUT PALSU was succesfull. It’s sign with a cram of people who waited for the performance continue their story, respectly I was confused be cause after “telecommunication ages” venoming most of human to forget their society and their humanity , in this performance all the people gathering together to reach the theatre rite, the theatre who lost their magnetism art power have repaired, and when I ask to the director of RAMBUT PALSU, Mr Wanggi said  he use the “multimedia as a friend not as enemy”, generally 21^st Century Society use internet and another technology application as informally habit, just like a breath. In case of depopularated theatre, be cause theatre wasn’t adapted the newest of global information, it’s truth that theatre it’s an euphemeral art who have limited act, also temporary quality of space but if Theatre recognize the main idea of global issues, jus’t wait until society leave theatre, “in fact not society leave the theatre, but theatre who won’t approached society”, global society and global issues. Wanggi and his art management shared the information of his performance to all the court of city, whoever and whenever. Back to the first aim of theatre argue that Theatre must be a new rite to “Celebrated the mean of Pluralism and differentiation”, Gather Doctor,Senator,Politician,Activist,Nurse to the holy hall, a purify space.
Mime as ingredients, act as meat
Rackasiwa Priwansa as art director give an ambience of perform space with some useless material like rotten iron,wood,paper or another material that match with anoter garbage list, but art have they unique destiny. Rackasiwa transform all that broken material that he found and collect, so he make a collage stagr craft using a combinations material between broken iron and another broken steel that he found around him. Art revive it into a new verb, combinations of ex-material he change it to be a half sites of performativity, and the rest of his work he finished it with a silentness of light and little orchestra temper that he putted in the high of appreciator chair’s. Racka make separated stage to argue a field of acting, like a cross sign and the appreciator can hear a voidness of hairy soldier prisoner, Wanggi and Racka positioned all that prisoner behind the central stage, and all the grudged,scream,cry and hopeless voice of the prisoner will be closer, close than your artery.

Photography By May Lodra Nurohman

Silentness of the stage craft meet a comical strategy directing, Wanggi Hoediyatno as Mime artist as specified have a high virtuosity of homour. It appear in option of characterization who mixed a territory of pantomime slapstick with dynamic accordination of acting capability. In fact this performance have another value, that was a forgetness value who left by another theatre artist, it’s the assimilated tactics with the core of our local performing art, who called Wayang, as the art wayang absolutely have their own aesthetic requirements to appear a beauty value, but Wayang’s artist aware that art it’s not fighted with only aesthetics value, art need a magnetism tool’s to take public concerned to the show, that is a strange act and also comedy act to make a magneted show. Strange act in art as ussualy we know in eccentric style of staging or absurdism of rhyme, in tradition art a strange strategy ussualy use  a meta-physics helpness, that activated with some paranormal stimulant, in wayang this strategy used too, but there was an important requirements to make wayang performance be come great show, it was comedy trick. In wayang there was a lot of comedy actor like Semar,Gareng,Petruk  they are I called “a smooth maker of performance” without them a performance will be bored, but who said wayang just a play of comical laughing all night long, wayang have they own philosophy, and there was a mean maker of performance like Arjuna,Bhisma and another pandawa, it was a simbiosism between “Smooth Maker and Mean Maker”, Between Comical Rhyme and Philosophy Meant, without one of each Other Wayang change to be cheapness comical show or to be bored performance all night long, between one and another value light the magnetism of each other.
In RAMBUT PALSU performance a strategy of wayang fill into the dynamic of rhyme, it was a  silk strategy to combine a harshness of Holocaust Tragedy with a slippy comedy. General Hog Trilmik Dor Homent played by Ad Akbar appear an idiotic slavery desire of germany statue, with the act of slowless gesture and baldy speech, Ad treated his act as a “body narration”, be cause he use all the media of this imagination to be come a horrory general. As ajudan Wail Irsyad give a huge of his caricatural performativity into a reacted and acted balance, as a foreman of Hog’s power Wail who played as Ajudan create his body and face into sadistic mimical, between governor and his workers appear a “violence loyality”, a loyality that grown up to be “hided traitor” because they created with fearness and cruelty of government, it was a black humourical of militarism government.
Actually Wanggi as Mime artist hire his performance with a naïve stereotype of pantomime, it looked from make up as a based requirements of pantomime aesthetics, all actor’s face shaped with a naughty touch of wanggi mimetic intuition. But Mime just a fake ingredients without talented of actor, all the homourical set will be nothing, but Ad Akbar and Wail Irsyad shake the unity of Aristotelian dramaturgy with a passion of act and ludic motivation, so the humanity meaning of this perfroamance communicated without pressure of philosophy, it be come a childhood performance with risky directing. Added by Slaras Mini Orchestra we felt that the genocide of jews big massacre tragedy can be helded into a tricky staging, that shared all the breath and sweat of humanism.After all the theatre as Afrizal Malna said “will take our life with his way”, Hopefully.

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