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Waktu Batu. Rumah yang Terbakar: The Experiment Within An Experiment
Published on 20/08/2024
(This blog post originated from KAYPOH. For the full article, please visit KAYPOH's website.)
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
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......(Continue reading)
