Review by Izzard Padzil & Nur Hilyati Ramli
SUMMARY : Yogyakarta-Indonesian based Garasi Performance Institute’s/Teater Garasi’s 'Waktu Batu. Rumah yang Terbakar’ was staged at the One Theater Hall (formerly known as penangpac) on the 27th and 28th of July as part of the George Town Festival 2024.
A lone actor draped in a fishing net filled with plastic waste stands on a stark white stage, setting the tone for 'Waktu Batu. Rumah yang Terbakar'. Photo Credit : Izzard Padzil
Upon entering the theater hall for "Waktu Batu. Rumah yang Terbakar," the audience are immediately confronted with the stark simplicity of the set: a blank canvas of white, suggesting both boundless potential and profound desolation. Positioned in the left corner of the stage, a single cast member was draped in a fishing net filled with plastic waste, a striking visual that immediately underscored the themes of pollution and environmental degradation central to the performance. This haunting imagery effectively set the tone for the evening and highlighted the urgency of addressing ecological concerns.
The title "Waktu Batu" itself is a sophisticated play on words, juxtaposing "waktu" (time), characterized by constant motion, with "batu" (stone), symbolizing stillness. This contrast encapsulates the tension between progress and stagnation, movement and permanence—themes that are intricately explored throughout the performance.
As theater practitioners, we were particularly impressed by how Teater Garasi/Garasi Performance Institute, under the direction of Yudi Ahmad Tajudin, utilized this minimalistic setup to maximum effect. The absence of elaborate scenery allowed the focus to remain squarely on the actors and their movements, which were both fluid and mechanical, evocative of the natural world's rhythm disrupted by human intervention.
One of the most striking elements of the performance was the incorporation of contemporary cultural references. For instance, the actors occasionally move like NPCs (non-playable characters) in a video game, their motions jerky and repetitive, a stark reminder of how modern life often mimics artificial routines. This deliberate choice underlined the sense of alienation and mechanical existence, aligning with the principles of epic theater, where actors are clearly performing roles rather than fully embodying characters, prompting the audience to think critically rather than become emotionally engrossed.
Aside from that, the use of technology in this production was nothing short of revolutionary. Multiple phones and cameras captured and projected scenes onto five flats and a stack of TV screens, creating a multi-layered visual experience that mirrored the fragmented reality of our digital age. This technique was particularly effective in illustrating the pervasive presence of technology in our lives and its impact on the environment. The constant flicker of screens and the overlay of images created a sense of disorientation, much like the overwhelming influx of information in our daily lives.
A multi-layered visual experience by the use of multiple mobile phones and cameras projected onto flats and TV screens during the play. Photo Credit: Teater Garasi.
A particularly memorable and unexpected scene featured the creation of a cyber grid using laser pointers, which transformed the stage into a digital landscape. The performers navigated this grid with precision, their movements underscoring the constraints and possibilities of our technological world. This scene served as a potent metaphor for the interplay between nature and technology, emphasizing the delicate balance required to avert further ecological damage.
A live band added another layer to the performance, their music—a blend of traditional and modern sounds—underscoring the emotional journey. Initially hidden, the band's gradual reveal symbolized the often-unseen forces behind environmental change. Their eventual appearance was a poignant reminder of how everything is connected and the hidden impacts of our actions.
In a fun twist, three audience members were invited to use game console controllers to direct the actors in a fight scene, mimicking a video game. This interactive element not only drew us in but also symbolized humanity's control over nature and the often-destructive results of our actions. It was a brilliant way to make us part of the story and drive home the play's message.
The cultural context of the production is deeply rooted in Javanese mythology, which adds a rich layer of meaning to the environmental themes. Drawing on the stories of Watugunung, Sudamala, and Murwakala, "Waktu Batu" reflects on the Javanese community's encounters with foreign influences, prompting reflections on colonialism and capitalism. These historical themes seamlessly blend with contemporary issues, highlighting the timeless struggle for environmental justice.
Other than that, the incorporated scenes set in a kitchen also resonated deeply. In a masculine society, the kitchen is a symbol of domestic duties assigned to women and marginalized. In your home, the kitchen is usually in the back, hidden. But this is not just about the architecture of your house, but also the world order. While the mother and other women are not heard, the men, and foreign guests sitting in the living room act as if they know best. They name everything, make the rules, and decide how the house should be managed. And you know, a house without the power of the mother is a house that is easily burned.
A play within a play. A shadow puppet play representing characters from the stories of Watugunung, Sudamala, and Murwakala. Photo Credit: Teater Garasi
This reflection on gender dynamics and power structures adds a critical layer to the performance. The scenes set in the kitchen challenge the traditional patriarchal view of women's roles, highlighting the essential but often overlooked contributions of women to the household and society. This commentary is particularly powerful within the context of the play's environmental themes, drawing a parallel between the marginalization of women and the exploitation of nature. Just as women's voices are silenced in the domestic sphere, the natural world is often disregarded and abused in the pursuit of progress and control.
“Time” in the play was portrayed as a force that can be both careful and careless, causing harm in its wake. On the sloping stage, we saw Kala, who had ransacked his mother's kitchen, starving. In another scene, Kala, at the dining table, kept slipping downwards, busy stuffing himself with food and foreign concepts brought by two guests—perhaps representing Colonialism and Modernity.
Looking from a theoretical perspective, this production is a masterclass in epic theater. Following the principles of Bertolt Brecht, the play constantly reminds the audience that they are watching a performance, encouraging critical reflection rather than passive consumption. The visibility of the technical elements, from the cameras and screens to the live music and laser grids, serves to alienate the audience in a way that provokes thought and engagement. The actors, intentionally distanced from their roles, never fully embody their characters, instead playing their parts in a way that underscores the constructed nature of the performance. This technique keeps the audience aware of the performance's artificiality, allowing them to maintain a critical detachment.
Clearly visible technical equipment, changing of sets and stagehands movements on stage, meant to provoke critical reflection and maintain audience detachment. Photo Credit: Teater Garasi
On the other hand, Antonin Artaud's theory of the Theater of Cruelty finds a perfect echo in this production. Artaud advocated for a theater that shocks the senses and breaks free from conventional structures to evoke deep emotional and psychological responses from the audience. "Waktu Batu. Rumah yang Terbakar" achieves this through its visceral imagery, unsettling juxtapositions, and direct audience engagement, creating an immersive experience that is both thought-provoking and emotionally charged. The relentless bombardment of sensory experiences, from the stark lighting and evocative sounds to the visual projections and physicality of the performances, aligns with Artaud's vision of theater as a cathartic and transformative force.
The script, a blend of poetic language and stark realism, oscillates between the lyrical and the blunt, mirroring the duality of beauty and destruction inherent in the play's themes. This linguistic duality is further enriched by the incorporation of Javanese mythology, grounding the narrative in a specific cultural context while also universalizing its message.
We found ourselves particularly impressed by the performances of the cast. Each actor brought a depth of emotion and authenticity to their role, creating a compelling and believable portrayal of a world in distress. The interactions between the characters were charged with tension and poignancy, reflecting the broader themes of the play. The actors' ability to convey complex emotions and ideas through both dialogue and physicality was a testament to their skill and the direction of Tajudin.
The production was filled with contrasts and unexpected clashes of scenes that seemed unfitting at first glance but somehow came together in a cohesive narrative. This juxtaposition—between the sacred and the profane, the serious and the absurd—was jarring, deliberately designed to provoke a knee-jerk reaction from the audience. This effect, often unsettling, served to keep the audience constantly engaged and questioning the underlying messages of the performance.
Some scenes felt so absurd that they bordered on the ridiculous, yet this absurdity was a brilliant choice, reflecting the surreal nature of our contemporary world. The use of seemingly "foolish" choices, such as overly exaggerated actions or nonsensical dialogues, acted as a form of satirical commentary, highlighting the absurdity of the issues being portrayed. This approach not only entertained but also challenged the audience to find deeper meaning beneath the surface level of the performance.
A collaboration with various interdisciplinary artists and performers, 'Waktu Batu' showcases a rich blend of talent and creativity. Photo Credit: Teater Garasi
This production might be the one that brings experimental theater to its core. We have not seen anything quite like this in a long time. The audacity to blend multiple narrative styles, the bold use of technology, and the willingness to engage the audience on such a direct level are hallmarks of experimental theater. It is a reminder of the power of theater to push boundaries and challenge conventions, offering new ways of seeing and understanding the world.
In conclusion, "Waktu Batu. Rumah yang Terbakar" is a powerful and thought-provoking production that uses the medium of theater to address one of the most pressing issues of our time. Through a combination of innovative technical elements, compelling performances, and a richly layered narrative, the play succeeds in both entertaining and educating its audience. The integration of Javanese mythology with contemporary themes creates a unique and resonant narrative that speaks to the universal struggle for environmental justice. This production is a testament to the power of theater to not only reflect the world but also to inspire change.
If there is one suggestion we would offer to refine this production, it would be to improve the surtitles. While we are comfortable with the Indonesian language, we noticed that the intent and nuance of the original dialogue were sometimes lost in translation. Improving the surtitles would ensure that all audience members, regardless of language proficiency, could fully appreciate the depth and nuance of the performance.
About the writers.
IZZARD PADZIL
Izzard is a Penang-based theater practitioner originally from Selangor, known for a diverse range of directing projects. His works include the heartfelt "Dan Tiga Dara" (2015), the introspective "Lina & Lijah" (2016), and the visually captivating "Homeland" (2016). He’s also directed "Menua Kitai" Sada Borneo Theatrical Concert (2017), "A Streetcar Named Desire" (2019), "Jungle Book: The Musical" (September 2019), and "Waiting For Godot" (2022). In 2023, he presented a short impromptu rendition of The Vagina Monologues. Recently, Izzard has been exploring performer’s training and body conditioning, keeping his skills sharp and versatile. With a broad understanding of theater and a genuine appreciation for the craft, Izzard brings a thoughtful and informed perspective to his reviews, aiming to share insights with both enthusiasm and humility.
HILYATI RAMLI
Nur Hilyati Ramli is a Penang-based theatre practitioner from Melaka. Graduated from Universiti Sains Malaysia with a degree and a Master's degree in Fine Arts, she has been involved in several aspects of performance, such as acting, directing and dancing since 2004. Her talents has brought her not only around Malaysia but also to several countries in South East Asia whereby she has performed at the Penang World Dance Day, Melaka Art & Performance Festival, George Town Festival, Butterworth Fringe Festival, KakiSeni International Arts Festival, Grass Straw in Taiwan and MY PHAT - Asia Pacific Bureau Drama/Theatre/Dance School Festival in Vietnam, Indonesia and Shanghai. Prior to her current post, she has been lecturing and facilitating workshop performances and performing arts classes, under the patronage of several organisations such as Ombak-Ombak ARTStudio, Arts-ED Penang, Performing Arts Centre of Pulau Pinang (penangpac), College International Yayasan Melaka, Sultan Idris Education University, People Theatre Taiwan and Universiti Sains Malaysia.
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