Saturday, December 8, 2007

TO WHOM IT CONCERN

TO WHOM IT CONCERN


Hermana, known as one of the young theatre actors in Bandung. Hi graduated from Theatre Departement at STSI ( Indonesia College of Art ) Bandung, with his major in Directing. He Create several erformances, with another young theatre actors. Hi olso involve in script writing.
Hermana work in both field: trodisional and modern genres of theatre. Oftenly he tend to use tradisional music and vocalization as source and artistical medium for his theatre performance. Recently he olso attracted by multimedia and try to combine and expresing it to visualize the the ssychological problem.
In his creation, Hermana mostly dealing with social theme. From this side he focusing to comment and give criticism about human condition in urban society. He try to potray their destruction and leneliness, bat olso find an bridge how to provoke among the spectators to develop the issue. He try to stimulate and to develop the theme through audience participation, and invite theme to open free discusiun abaut the problem. It is a kind of technic how to enrich the oin of view.
As on actor, Hermana use gestical expression taken from tradisonal vocabularies. But his passion and pawer to persuade is typical modern. To intensify his performance, he olso documentetary pieces and the spirit of nasionalism as final conclusion.
Hermena heve no internasional exprerience yet. So, if he able to reach thet opportunity, I thing he will learn more and use it as brigde to his wider network.

Written by: Benjon – actor, dorector, theatre critic, playwright.

Monday, October 29, 2007

THE SONG OF THE RED ANT


KASARUNG or THE SONG OF THE RED ANT
By : Hermana HMT

ACT 1

A stringed instrument called tarawangsa (Tadisional music from West Java) or violin is being played heartrendingly. The light slowly turns on. The floor of the stage is covered with white colour. On a wood level someone (THE DARKENESS) is lying down. He is covered with white cloth irom neck to toe, and strewn with colourful flowers. Several heaps of tangled threads and a number of coconuts are scattered around the level. Some of the coconuts are peeled, some are half-peeled with their fibre still on and some are whole. A string of mixed flowers is put over each coconut. Something like thick blood is dripping out to de floor from the coconut shells.
From the ceiling of the stage hang several coconuts, bamboo spears or pipes two meters long that are already speared, bottles or something similar to bottle. Bottles are olso broken on the bottom. These properties slowly move up and down like the movement of knitting machine. Everything is smeared with blood, which drips slowly to the floor.

ACT 2

The scream of the tarawangsa music or violin stops, so does the movement of the properties on the ceiling. Silent for a moment. Suddenly the music is played thunderously followed by on noise from a crowd. From both corners the stage or it could olso be from behind the oudience a number of people appear making such an incomprehensible noise. In their left hands they carry a bucket from which smoke is coming out. They noisily point at each other and make a fuss below the stage, and then go on stage, circling THE DARKNESS, an suddenly stop all at once, forming a half-circle with their back to the audience. After a few seconds they start to point at THE DARKNESS, repeatedly mumbling some unclear sentences. Then they are silent again. Slowly they retreat in a sideways position with their back still to the audience. They say, " He is sick, your are sick" ten times, their eyes on the audience sometimes on THE DARKNESS. They scream, hitting their foreheads with their right hands. They run around THE DARKNESS and saying, " Everybody is sick, everybody is sick, everybody is sick" repeatedly with their right hands covering their lips and their left hand still carrying the bucket pointed at THE DARKNESS. One by one they put down the buckets and sit folding their feet in front of the tangled threads.

ACT 3

The tarwangsa music or violin is heard again. The hung properties slowly move again. THE PEOPLE try to disentangle the threads, although it doesn’t make sense that they can be fixed. But they keep trying hard anyway. The movement of their hands is getting faster and faster so that the threads get more entangled rather then neatly disentangled.

THE DARKNESS :
(SUDDENLY STANDS UP AND SHOUTS) Mother!

THE PEOPLE stand up all at once and move with their eyes towards the ceiling of the stage. After a while they let themselves fall to the floor, but not THE DARKNESS.

THE DARKNESS :
(SHOUTING AGAIN) Mother! (HE FALL DOWN HIMSELF. THE PEOPLE SUDDENLY GET UP AND THEMSLEVES FALL AGAIN).
SOMEONE :
(STANDS UP AND SHOUT) Get up! Get up! Get up! Let’s work again.
THE PEOPLE stand up and quickly move their hands to disentangle the threads. But they suddenly stop and stare at the tangled threads, mumbling ( HUMMED) full of concern/ worry.
THE DARKNESS :
(AS IF TALKING IN HIS SLEEP) Mother! Mother! Mother! (GETS UP) Did I talk my sleep? I don’t think so. I clearly heard her moan. (HALF SHOUTING) Mother! I can feel your sadness. Your pain is olso mine. I really wont to cure your wound, but my hands and my mouth are unable to do more. Once I wanted to ask for the helf of our relatives, but their hands are full of sharp claws. They would cause your wounds to get worse, whereas your hopes are in my and their hands. Now that I have become poerless, whom can put our hopes in? (HE LEF HIMSELF FALLS)

The tangled threads at which THE PEOPLE are staring are lifted to the right side of their heads, while they sofly start to chant.

THE PEOPLE :
Oh my God! Oh my God! Oh my Gog! Oh my God! My God! My God.......

The tempo of the chanting becomes faster and the voice louder. Their bodies are shaking. The tangled threads move as if they have a soul, trying to grab whoever holds them. THE PEOPLE try to resist until they have to lay face-up on the floor. THE DARKNESS seems surrised and frightened. He stands up and covers his ears with both hands, his eyes bulging out, staring up at the sky open-mounthed.

ACT 4

The cry of a baby can be heard everywhere. The tangled threads are thrown up. THE PEOPLE who are lying on the floor face-up start to move, make the sound of s baby, then cry hysterically. The music is thunderous. The hung properties constantly and slowly move up and down.

THE DARKNESS :
(TRYING TO FIND WHERE THE VOICES CAME FROM) Baby! Baby! Baby! (POUSE) Is that the cry of a newly born baby? Or the cry of newly born parties?

All activities stop at once. The stage is very quiet. The eole lay in crucified position.

THE DARKNESS :
Is that cry of a newly born baby or newly born parties?
THE PEOPLE :
(MOVING UP THEIR HEADS BAT NOT THEIR BODIES, AS IF SITTING UP) The babies’ an the parties’.
SOMEONE :
(MOVING UP THEIR HEADS AS IF STTING UP) Yes, newborn parties like babies. And there’s so many babies entering a party.
THE DARKNESS :
(AMAZED) Babies and parties. Bebies entering parties? It’s terrible.
THE PEOPLE :
(MOVING UP THEIR HEADS AS IF SITIING UP) Are you surprised?
THE DARKNESS :
More then just surprised. Its’s incomprehensible. Illogical!
THE PEOPLE :
(MOVING UP THEIR HEADS AS IF SITTING UP) That’s right. Anyone who just come to this place for the first time will make the same comment.
SOMEONE :
(STANDS UP) Yes. At this place we have lived for a long time without logic, let alone a deep feeling. For long we have gotten ourseves used to living in absurdity. Whatever happens is our reality.
THE DARKNESS :
(TO HIMSELF) It’s horrible. Difficult to imagine. So this is the life I have to experience.
THE PEOPLE :
(STAND UP AND POINT AT THE DARKNESS) How dare you come to this place?
THE DARKNESS :
I’m looking for mother. Did you see her?
THE PEOPLE :
(LOOKING AT EACH OTHER) Mother? (THEY LAUGH AT HIM GLEEFULLY).
THE DARKNESS :
(ANGRY) Why are you laughing?
SOMEONE :
Pardon us, buddy. There’s no mother and one is treated as mother in this place.
THE DARKNESS :
No one? Bat how come there are so many babies, here.
THE PEOPLE :
They are discarded babies.
THE DARKNESS :
Oh, my God. How can anyone discard a baby?
THE PEOPLE :
Why not, if it’s the best way.
SOMEONE :
Moreover, those babies were prematurely born and do not have clear fathers. It would be better for them to be discarded and die rather then sffer their whole lifetime. We are pretty sure thet they will turn out to be demangders and belong to heaven.
THE DARKNESS :
They were born prematurely and have no fathers. The same with those parties?
THE PEOPLE :
Yes, it is.
THE DARKNESS :
Thanks. ( TALKING TO HIMSELF) Staying here longer will put me in trouble. Goodbye everybody. ( HE LET HIMSELF FALL AND LIES CRUMPLED ON THE FLOOR).
THE PEOPLE :
Hey, where are you going?
THE DARKNESS :
(RISING BUT NOR STANDING) Looking for mother! (HE FALLS DOWN AGAIN).
THE PEOPLE :
Huuuuuuh. (THEY RUN CIRLING THE DARKNESS).

ACT 5

THE PEOPLE are moving in a dance-like movement, almost tradisinal tribal dance. Thet sing a song while dancing.

Wok wok dur
Wok wok dur
Private propery is often appropriated
People are getting angrier
And asking their president to resign
Wok wok dur
Wok wok dur
Ministers have Mercedes
They talk cowardly
Accusing others of corruption that they themselves do
Wok wok dur
Wok wok dur
Company owners flee their business
Neglecting their workers who became jobless
As long as they can live in prosperity
Wok wok dur
Wok wok dur
Parties make impossible promise
While their followerS are senseless
And the country is ruined

SOMEONE :
Suvervisor in coming. Supervisor is coming. Quick! Back to work!
The music tarawangsa or violin is again heard. The properties start to move. THE PEOPLE make a very noisy fuss. They pull at tangled threads. In a Javanese-women sitting position they try to disentangle the threads. They do it fast as if in a hurry. Sometimes they pull hard at the threads, sometimes they wash their hands with the red-thick fluid in the bucket and rub it on their faces. Their faces seemed to be smeared with blood. Sometimes they even put their faces into the bucket.
THE DARKNESS :
(STANDS) Only yesterday this place was lively and full of spirit. Now it is so frightening. Is it because of the birth of babies without fathers? Or a prospective leader who will ruin the country’s next steps? Or is it because of the birth of parties that are not rooted in Mother Earth?
THE PEOPLE :
(IN SQUATTING POSITION WITH THEIR HANDS TO THE FRONT AS IF FIRING A GUN) Or is it because of the rifles that the gentlemen are carrying out there.
THE DARKNESS :
I’ve got no idea. All I now is that I become more confused. I am worried that mother’s condition is getting serious. (HE ALMOST FALLS DOWN) I feel like I was in the country of Alengka. Although Rama and his monkey troops had long conquered him, the hot waver caused by the breaths of Rahwana, the ex-king of Anger, increased my mather’s body temperature, and affected me as well so that I fee very hot now.

The Properties stop moving. Thy stop working on the threards. In the midst of THE DARKNESS speech above, THE PEOPLE start to slowly move with bent back circling the tangleds and moving the buckets from side to side.

SOMEONE :
We thought was only a dream, bat is was not.
THE PEOPLE :
(THEY TURN THEIR HEADS TOWARDS THE AUDIENCE) Yes, we felt the same way.
PERSON 1 :
(STANDS UP) The hot waver have even caused the cowards to flee this place.
PERSON 2 ;
(STANDS UP) Yes. Taking all their riches they fled abroad. All they do now is lean comfortably, watch TV reports, And laugh at the fate of the lower class who have mostly become the victims of the hot breaths of Rahwana and his cronies.
THE PEOPLE :
(STANDS UP) We can’t just let it happen.
THE DARKNESS :
That’s right! Otherwise, I can’t imagine what will happen to my mother and the people who share the same distress. Goodbye everybody. (LET HIMSELF FALLS DOWN).
THE PEOPLE :
Hey! Where are you going?
THE DARKNESS :
(RISING BUT NOT STANDING) Looking for mother and the remedy to cure her wounds.(HE FALLS AGAIN).
THE PEOPLE :
Watch your step!

ACT 6

Music is heard. Everybody stands up, except THE DARKNESS. Their left hands carry a bucket.

SOMEONE :
Where are we going now?
PERSON 2 :
Working.
THE PEOPLE :
Until when will this work last for as
PERSON 2 :
Until we have vanishsed from this life.
THE PEOPLE :
Hehhh! (SIGHING AND BENDING THEIT HEADS, EXXEPT FOR ONE PERSON. HE LOOKS AT HIS FRIENDS).
SOMEONE :
Hey, why are you so sad? Let’s get back to work.
THE PEOPLE :
We are tired.
SOMEONE :
What if we sing a song first before we resume work? (NO ONE RESPONDED) Let’s sing, ok! ( HE ASKS EACH ONE OF THEM BUT NO ONE RESONDS UNTIL HE FEELS UPSET AND CRIES. SEEING THEIR FRIEND CRYING, THE ONTHERS FEEL PITY. THEY RESPOND BY ASKING HIM TO START SINGING).

THE PEOPLE moving and singing.

Work! Work! Work!
Lest’s work, friends
Don’t you work lazily
Try! Try! Try!
Les’t make a try, friends
Keep on trying don’t be too easy
This nation belongs to us
A place where we live together
We have to defend it carefully
Otherwise they’ll take it away from us

SOMEONE :
Ssst! ( EVERYBODYS QUIET).
THE PEOPLE :
(WHISERING) What’s up?
SOMEONE :
There’s a security guard. Hide!

Everybody lies face-down behind the buckets and tangled threads. The tarawangsa music or violin is heard. THE DARKNESS stands up.

THE DARKNESS :
Seaching, trying and walking alone is indeed not easy. Not comfortable. The nights are quier and frightening. I long tor togetherness. Yes, I have to be with them, in order to be able to share the good times and the bad times.
THE PEOPLE :
(RAISING THEIR HEADS ON THE BUCKET) Yes, you must! Togetherness will bring us to the height of lifes spirits and the tranquility that we always dream of (HIDE AGAIN).
THE DARKNESS :
But where do I have to go? The road has too many branches and I don’t know which one to choose, which one will lead me in the right direction. (QUIET FOR A MOMENT) Even if it is said there are so many ways to Rome, one will be lost if one doesn’t find the right track. I don’t even know where I am now.
THE PEOPLE :
(RAISING THEIR HEADS OVER THE BUCKETS) At an intersection (HIDE AGAIN).
THE DARKNESS :
At an intersection? (HE EXAMINES THE ROOM) There’s so much blood of slaughtered animals or has it been a big conflict?
SOMEONE :
(RAISING HIS HEAD) Conflict. It’s not yet the time for sacrificial animal slaughter. That would be the month of the pilgrimage.
THE DARKNESS :
Conflict. Surely most of them do not understand the signs at this intersection. (QUIET FOR A MOMENT) Oh,God. It’s terrifying. I hope I or my brothers or sisters will not be the next victims.
THE PEOPLE :
(RAISING THEIR HEADS) Maybe yes, maybe not.
THE DARKNESS :
If yes, why? If not, why?
THE PEOPLE :
(RAISING THEIR HEAD) Because at an intersection, may people are trapped, while others are not.
THE DARKNESS :
God. Will I still see the sun rise and set with the people I love tomorrow?
SOMEONE :
(STANDS UP) Why did you say that?
THE DARKNESS :
I’m afraid of being trapped here, where as I haven’t found what I’m looking for.
THE PEOPLE :
(STANDS UP) Coward.
THE DARKNESS :
But the problem is…..
SOMEONE :
Don’t be hesitant! As you are here now, just go on your way. For this intersection is very dangerous for cowards.
THE PEOPLE :
Yes! Hesitation means death for you.
THE DARKNESS :
Death? (A BIT FRIGHTENED) Yes… Yes…. I know. This is a cosequence that must be take by those who is still alive. I’ll continue my search even though fear and worry are contantly behind my back.
SOMEONE :
You have to ‘kill’ the fear and worre first.
THE PEOPLE :
Yes. Then you may continue your journey.
SOMEONE :
And always bear in mind the words of wisdom, "The world can give nothing mere to a worried man."

THE DARKNESS and THE PEOPLE let theseves fall down.

THE PEOPLE :
(RISING BUT NOT STANDING) Hey! Where are you going? (FALLS AGAIN).
THE DARKNESS :
(RISING BUT NOT STANDING) looking for mother! (FALLS AGAIN).
THE PEOPLE :
( RISING BUT NOT STANDING) Do you dere? (FALLS AGAIN).
THE DARKNESS :
(RISING BUT NOT STANDING) Why not? (FALLS AGAIN).

ACT 7

Silence on the stage. THE DARKNESS gets up. He stretchers as if hes just awoken from sleep. From afar vaguely we can hear the tarawangsa music or violin.

THE DARKNESS :
All over the world, civilization is always sold out to violence and power. Compassion in humanity is on longer beneficial nor highly honoured as a common pride. The truth keeps silent. Conscience has decayed. Justice is lost. The red and white has faded to an unrecognized colour for every hour, every minute and every second it had been used to wipe the blood that was spilled. The Holy Book has lost its meaning and its function has shifted. Whose blood will be spilled to fertilize this land?
I have never had such a nightmare before. This land had always given me unequaled warmth. Because my intercourse with it is was pure without the burden of inadjustable echniques. My penis has always been erect, leading my libido to the top of ectasy.
But now, the fertilizer spread by those cheap politicians had exaggeratedly politicized the pureness of virtue. Friends, parents, thinkers, leaders and even myself are now being trapped in it. We are carrier away among the clouds of hallucination whispered tu as theough dreams of liberty. We forget ourseves, forget the glorious history of our homeland. Tempted by the new technology and ideas from foreign lands. And finally losing our zirah (cloth of the king). (SUDDENLY REALIZING SOMETHING) Zirah? Our zirah cloth is lost? So we’ve lost our dignity. Its purity has been torn to pieces at gunpoint, vengeance, the poin of pens, and various directives. Bring me back my cloth. I’m ashamed of being naked, without the zirah cloth. ( RUNNING HERE AND THERE) Bring me back my cloth! Bring me back my cloth! (HE FALLS DOWN ON THE WOOD LEVEL).

From behind the stage we can hear marching music. Like troops, the people enter the stage marching. They enter the stage singing, accompanied by the sound of drums, a whip in their right hands.

COMMANDER :
(SHOUTING A MILITARY INTSTUCTION) Troops….!
THE TROOPS :
(SOUND OF A GOAT) Mbeeeeee…..
COMMANDER :
Stoppp!!.. Shut up!!! (THE TROOPS BECOME SILENT WITH STERN FACES. THE COMMANDER INSPECTS THE CONDITION AND ATTITUDE OF EACH SOLDEIR) March in place! (THE SOLDIERS REMAIN UNMOVED) Why didn’t you move?
THE TROOPS :
We are bered by the same movement every time ( THEY SIT ON THE FLOOR).
COMMANDER :
(ANGRY) So what do you want?
THE TROOPS :
To beat people.
COMMANDER :
What?
THE TROOPS :
To beat people.
COMMANDER :
To beat people? You are crazy! You are suppesed to protect and saferguard the people, not act as hitmen… Move … Move… ( THE SOLDIERS STAND UP, BUT ONE OR TWO ARE STILL RELUCTANT). Hey, you! You! Stand up! (EVERYONE IS NOW IN AN ALERT POSITION, READY TO RECEIVE ORDERS) You are all pains in the ass….
THE TROOPS :
Mbeee.
COMMANDER :
Perhaps you take too many illegal goods, heh?
THE TROOPS :
Mbeee.
COMMANDER :
I told you… You must hands over all confiscated goods to the state, so you are free from overdoing.
THE TROOPS :
Mbeee.
COMMANDER :
Look over there! Your overdoing has resulted in demands for independence from some regions.
THE TROOPS :
Mbeee.
COMMANDER :
You useless goats! (MAKES AN INSPECTION) Ok. From this moment on you must be fully aware of your duties. March nicely and politely in order prevent disintegration. You read me?
THE TROOPS :
Mbeee.
COMMANDER :
Ok. Now relax, discipline, and ….. Move!

The soldiers move in the place.

COMMANDER :
March in the new fashion! Move….!

The soldiers obet the command. They march on the spot with slightly lowered bodies and bent feet. Their right hands are liften up to the height of their hands, their left hands are bent in front ot their chests as if holding a ashield for combat, their heads turned to the left and eyes directed upward.

COMMANDER :
Everybody.. move forward! (THE TROOP MOVES) Sing along… Sing!

THE TROOPS : (SINGS)
Pam! Pam! Pam!
Pam! Pam! Pam!
Dignity is our robe of glory.
Hay! (THEIR BUTTOCKS MOVED TO THE RIGHT).
Hay! (THEIR BUTTOCKS MOVED TO THE LEFT).
Pam! Pam! Pam!
Pam! Pam! Pam!
Dignity is our robe of glory.
Ces! Ces! (TO THE RIGHT.TO THE LEFT).
Pam! Pam! Pam!
Pam! Pam! Pam!
Dignity is our robe of glory.
Puah! Puah! Puah! Puah! (SPITTING).
COMMANDER :
Everyone….
THE TROOPS :
Mbeeee....
COMMANDER :
We’ve found the target. Don’t think about human right. Attack!
THE TROOPS attack THE DARKNESS and strikes him with whips. THE DARKNESS struggles and screams in pain, slowly losing his power to resist.
COMMANDER :
(SHOUTING) Stop it! Silence! (EVERYBOY IS SILENT).
THE TROOPS :
(MAKING A FUSS) Disperse! Disperse! Disperse! ( THEY RUN AWAY OUTSIDE).

ACT 8

The scream of tarawangsa music or violin is heard. Properties on the ceiling slowly move. THE PEOPLE enter the stage bending their back. Their movement resembles one who is watching for something. They take a coconut and play with it with both hands. They circle the heap of tangled threads. From outside the stage someone is shouting for "Mother and Father".

THE DARKNESS :
(LYING ON THE FLOOR) Mother! Mother! Mother! Father! (SIKENT FOR A MOMENT) O, God. I’ne had a strange dream. (LOOKS ASROUND. GAZES AT THE CEILING) O, nights that never stop being so tense. Your cover is so full of stain. It needs a lot of detergent and more time to make it clean. (GAZES AT ANOTHER DIRECTION) O, morning that has always faithfully woken me up. Apparently I am living in the land of dreams, where the leaders always offer fake beauty to soothe worries before going to sleep. A land built on unprooted arrogance, a land where the people are led to honour common lies. (THE PROPERTIES STOP MOVING) There are to many headless bodies everywhere. So many heads without bodies. Those are or cconuts that are scattered here. It’s unclear and difficult to make out. They’ve got the same smell. People don’t care if someone swallows another’s head. And even forgetting one’s head is threatened by its own thinking.

THE DARKNESS looks at a coconut and looked surprised. He stares at it sharply, and with deep feeling takes in with botth hands. Slowly tears are streaning down his ckeeks.

THE DARKNESS :
Father. Is it you. Father? Who had done this to you? Tell me who, father. Who? (POUSE) No! This is not his head. What is scattered here are not heads. He’s still alive. I was talking to him just yesterday. No! this must be sorcery. (TO THE AUDIENCE) This is sorcery, right? (QUIET FOR A MOMENT) No? you are lying! It’s a slander. It’s impossible for him to end up like this. He is a good man. (TO THE AUDIENCE) Tell me the truth. Tell me once again. This is sorcery, isn’t it? (NO RESPONE) Why are you so quiet? This isn’t really happening, right? This is not really happening. This is not real.

THE DARKNESS laments on the coconut by singing a heartrending song. He hugs the coconut deary by pressing it on his chest.

O, Gad the Marciful
What has done to deserve this?
His love had always been expressed, now forgetten
His compassion was never marred by aversion
But, this is the end of his life
People tend to forget themselves more
They don’t even care about anyone’s life
Killing others with no feeling nor consideration
Forgetten to whom the soul belongs

THE DARKNESS :
(RISES UP) One by one they’re gone. What kind of era is this? Do I have to kill, too, to make their suffering perfect? (TO THE AUDIENCE) Why di you let this happen and why couldn’t you do something? I guess you are just like me. Can do nothing but talk. It’s terrible that our conscience is deeply buried. Forgive me, Father. No. I am sure he is still alive. Look over there. He is with some other people making plans for a better future than we expected. We’ll be set free from poverty and this land will again be our main source of life. No need to queue up, fighting each ather for food. Then the nights will again sincerely accompany us to sleep, whispering a beautiful dream and covering us with warmth. Is that right, Father? Isn’t it? (CRYING, BUT SUDDENLY HIS FACE TURNS FIERCE) Shit! (HE SPITS SEVERAL TIMES) I thing this is the right time fo me to do something, Father. It is for you that I will crush these heads. (TAKES A CLEANLY PEELED COCONUT) You are like a ghost. You are everywhere, but difficult to find. Now, it’s the time for us to stand face to fase. The fairy tale is right. You are so rare, yet so dangerous. Apparently your face is as handsome as Arjuna, at you are as cunning as Sengkuni and your heart is more evil than Durna. (HE CRUSHES THE COCONUT ONTO THE FLOOR. IT’S BROKEN. HE TAKES ANOTHER, A WHOLE ONE) You rascal! (SPITS ON THE COCONUT) I can do what you can do. This moment I"ll crush you all over. (HE PEELS THE COCONUT USING HIS TEETH) Let’s fight head to head. (HE CRUSHES THE COCONUT USING HIS HEAD. HE TAKES ANOTHER PEELED ONE AND CRUSHES IT AGAIN USING HIS HEAD. HE TAKES ANOTHER ONE AND CRUSHES IT ONTO THE FLOOR).

With a fierce expression on his face THE DARKNESS picks small pieces of the crushed coconut. Smiling as he lools at them, then he throws them away. He laughs out loudly. As he stops laughing, his face turns sad. He pick up the piece of coconut again.

THE DARKNESS :
But what is the use of all this? Even if I crush hundreds or even millions of heads, it won’t bring father back to me.Don’t metion him. Even my beloved mother for whom I heve been searching everywhere can not be found. Indeed, hope ends up only in memories. My mother who may still be ill, I don’t even have the slightest idea where she is and what has become of her. ( THE CRY OF A BABY IS HEARD) A baby’s cry! It can still be heard from here. Or perhaps I heve not left this place? (EXAMINES THE ROOM. SEEMS SURPRISED) O, God. I’m still here, in this terrifying place. (HE FALLS DOWN ON THE FLOOR).

The musik softly plays a melancholy song. The light dims. The hung properties start to move up and down.

The souls are drifting by
Searching for their bodies
In the dark of de night
Staggering amidst the storm
We can never be sure of life’s ups and downs
The souls
Are suffering in sorrow
Without ending
Moaning in pain
Pressed by the pillars of arrogance
Full of revenge
Unconcerned with wounds
The souls are waiting
For hopes to come
With wide open doors
Existing or non existent
Fading into oblivior

The song stops, the screaming of the tarawangsa music or violin continues. THE PEOPLE enter the stage noisily. Then suddenly they are silent. The lights are off. The lights are on again. THE PEOPLE and THE DARKNESS are gone. All the hung properties drop onto the floor. All the lights are off again.

THE END

Thursday, October 11, 2007

Tuesday, September 18, 2007

THEATRE CONCEPT


Theatre Concept by Hermana HMT

Basically, theater is result of a process which develops from time to time and appropriates to the development of society’s thought and spiritual mentality in its own environment. This process itself is result of acculturation draw from various complex components. A work of theater is created because it has deeper dimension and essence inside. Human imagination and creativity make art valuable and can be appreciated or enjoyed by society at large.
Our imagination and creativity will open the door onto improvement, new product and service, new world market, new communication way, and new way to preserve our environment and natural resources. It will also present more beautiful and rhythmical things.
The term of space on theater is the space where human read the sign of life in the past, present, or future and has function as reflection of life. Theater is not only as media of thought and feeling expression but also like its own life or miniature of life that forms on human’s will and work on the stage and full of symbol and meaning.
Of course, we want that the realization of life in theater does not just form and then finish at that time. It must spring some wishes that can give spirit to human life at least as reflection, intelligence, and artistic beauty from the offered ideas.
In every making of theater, we rarely take the idea of Stanislavsky’s realism performance style, but more refer to the spirit of Sundanese traditional theater (longser) and Effect Brecht’s theater. The spirit is basis of standing then it is developed with had style and experience to be ‘new idea’ and ‘new form’. We call it Teater Sabrehna.
Sabrehna is taken from Sundanese and means whatever there is or as it is. In our theater, this concept is formed by the mix of various concepts then reprocessed with our own discoveries from experiences we got since processing time and makes a form of theater that can’t be categorized as the follower of certain theory (Stanislavinsky, Brecht, or Artaud). Sabrehna means whatever we can see, whatever we can think, whatever we can feel, and whatever we can move on the full conscious corridor without forgetting the ethic and aesthetic power as responsibility to public. Nevertheless, it does not mean that we underestimate the existing theories. We just feel afraid to be trapped on the struggle of theories and consider that we can’t follow their theories fully. We can’t be a whole realist, Artaud, or Brecht. The reason we make the spirit of Brecht as the basic is because this concept has the uniqueness like the spirit of Longser which is familiar with our life. We have slogan ‘playing on play but serious’ or ‘playing on seriousness, serious on play’ means there is a seriousness or capability when the actor plays and awareness in communicating to public. We hope this concept can be a local discourse which is being of the world and global.

Tuesday, September 11, 2007

ROBOHNYA SURAU KAMI


Karya : AA. Navis
Penyadur/Adaptasi : Hermana HMT

SEJENAK MUSIK BERGEMURUH.
PERLAHAN TERDENGAR GESEKAN BIOLA ATAU LANTUNAN SERULING DIBARENGI GEMERCIK AIR DAN DESIR ANGIN.
SAYUP-SAYUP TERDENGAR KUMANDANG ADZAN SUBUH. ORANG-ORANG MUNCUL DARI BERBAGAI ARAH, BERBARIS DI PANGGUNG SEPERTI MAU MELAKUKAN SHALAT.
ADZAN USAI SESEORANG MELAPALKAN DOA SETELAH ADZAN, LALU ORANG-ORANG MENDENDANGKAN LAGU " AL-ITIRAF ".

PEMBACA DOA 1
Ya Allah, ya Tuhan kami jangan Engkau jadikan kami condong pada kesesatan Sesudah Engkau beri petunjuk kepada kami,dan karuniailah kepada kami rahmat dari sisi Engkau, karena sesungguhnya Engkau Maha Pemberi ( QS. Al-Imran: 8 )

PEMBACA DOA 2
Ya Allah, ya Tuhan kami, Engkau masukan malam pada siang, Engkau masukan siang pada malam dan Engkau mengeluarkan yang hidup dari yang mati,Engkau mengeluarkan yang mati dari yang hidup, dan Engkau memberi rizki kepada siapa yang Engkau kehendaki dengan tidak terkira. ( QS. Al-Imran : 27 )

PEMBACA DOA 3
Ya Allah yang mempunya kerajaan, Engkau berikan kerajaan kepada yang Engkau kehendaki dan Engkau cabut kerajaan dari orang yang Engkau kehendaki., Engkau muliakan orang yang Engkau kehendaki dan Engkau hinakan orang yang Engkau kehendaki. Di tangan Engkaulah segala kebijakan. Sesungguhnya Engkau Maha Kuasa atas segala sesuatu. ( Al-Imran : 26 )

TIBA-TIBA SEORANG PEREMPUAN MUNCUL DAN MENANGIS SEPERTI ANAK KECIL.

SEORANG PEREMPUAN
Kini kakek itu sudah tidak ada lagi. Ia sudah meninggal. Dan tinggalah surau itu tanpa penjaganya. Sekarang hanya akan menjumpai gambaran yang mengesankan suatu kesucian yang bakal roboh. Orang-orang itu semakin masa bodoh. Dan biang kebodohan itu ialah sebuah dongeng yang tidak dapat disangkal kebenarannya.

PIMPINAN PENTAS
Hei,hei,hei ! Berhenti ! Apa-apaan sih kamu ? Orang lain berdoa ini malahan menangisi yang tidak jelas. Sudah, tidak baik banyak bersedih hati. Yang sudah berpulang biarlah pulang dengan tenang, kita-kita yang akan mengikutinya nanti, dari sekarang lebih baik mempersiapkan bekal kepulangan kita itu. Agar nanti tidak tersesat atau masuk ke tempat yang tidak kita sukai. Sekarang lebih baik memperbaiki hidup daripada meratapi yang sudah mati. Sudah ya,jangan menangis lagi malu tuh sama orang-orang. Oh ya, penonton. Selamat berjumpa dengan kami. Maaf tadi saya memotong dulu. Pertunjukan sebenarnya belum dimulai.

SEORANG PEREMPUAN
Loh,loh. Yang barusan adegan apa ?

PIMPINAN PENTAS
Itu baru sambutan awal dan doa.

SEORANG PEREMPUAN
Jadi belum,ya ?

PIMPINAN PENTAS
Belum.

ORANG-ORANG
Huhhhh.

PIMPINAN PENTAS
Sudah, sudah ! Sekarang kalian duduk dulu yang rapi….Maaf pemirsa, barusan itu kesalah pahaman. Begini…eeeh.. tapi sekali lagi saya menghaturkan mohom maaf. Anu…eeh.. sebelum cerita dimulai, saya ingin sekali menyampaikan sepatah kata pada anda semua. Kenapa saya ingin sekali berkata-kata ? Tentu, karena saya kuatir setelah pertunjukan ini tiba-tiba ada gelombang protes besar-besaran. Maklumlah zaman reformasi. Jadi, sebelum cerita ini kami lanjutkan, kami mohon maaf yang sebesar-besarnya apabila nanti ada kelancangan-kelancangan yang tidak berkenan dihati para pemirsa. Ini cerita bukan cerita sesungguhnya, tapi dongeng yang kebenarannya sangat bisa diragukan. Dongeng adalah dongeng. Dongeng bukan kenyataan, walau kadang ada nyatanya. Agar lebih jelasnya silahkan simak dengan hati yang lapang.begitu saja dari saya. Ayo anak-anak lanjutkan dongengannya, tapi jangan pakai tangis-tangisan lagi kesannya seperti telenovela. Siapa tadi yang nangis ?

ORANG-ORANG
Dia pak.

PIMPINAN PENTAS
Oh kamu. Awas ! Jangan pakai nangis lagi, ya ! Ayo mulai.

TIBA-TIBA EMPAT ORANG PEREMPUAN MUNCUL DENGAN JERITAN DAN TANGISAN.

PEREMPUAN SATU
Tapi kakek itu sudah tidak ada lagi sekarang. Ia sudah meninggal. Dan tinggal surau itu tanpa penjaganya, hingga anak-anak menggunakannya sebagai tempat bermain, memainkan apa yang disukai mereka. Perempuan yang kehabisan kayu bakar seing mencopoti papan dinding lantai di malam hari.

PEREMPUAN DUA
Jika kalian datang sekarang,hanya akan menjumpai gambaran yang mengesankan suatu kesucian yang bakal roboh.

PEREMPUAN TIGA
Dan kecerobohan itu kian hari kian cepat berlangsungnya. Secepat anak-anak berlari di dalamnya, secepat perempuan mencopoti pekayuannya.

PEREMPUAN EMPAT
Dan terutama ialah sifat masa bodoh manusia sekarang,yang tak hendak memelihara apa yang tidak dijaganya lagi.

PIMPINAN PENTAS
Aduh, aduh, aduh, aduh ! Sudah saya bilang jangan pakai sedih-sedihan, malahan makin banyak yang bersedih. Bagaimana kalian ini ? Hei ! Negeri kita ini sedang bersedih.jangan ditambah-tambah lagi kesedihannya.Sudah, sudah ! Lebih baik sekarang kalian bernyanyi. Mau enggak ?

ORANG-ORANG
Mauuuu.

PIMPINAN PENTAS
Bagus. Bagaimana musik, siap ?

PEMUSIK
Siap bos. Nyanyi apa ?

PIMPINAN PENTAS
Katanya siap. Lagunya anu.. eh.. " Ajo Sidi ". Mulai.

ORANG-ORANG BERNYANYI.

Ajo Sidi oh Ajo Sidi
Pendongeng dari sebrang sana
Tak henti-henti berceloteh
Hingga orang terpana bualannya
Ajo Sidi oh Ajo Sidi
Kerjaannya sidir menyindir
Mejerat hati tiap orang
Jadi sumber ejekannya

PINPINAN PENTAS MEMBERHENTIKAN ORANG-ORANG YANG SEDANG ASIK BERYANYI DAN MENARI. ORANG-ORANG GUSAR, TAPI SEMUMUANYA DAPAT DITERTIBKAN.
SAYUP-SAYUP TERDENGAR SUARA SERULING DIBARENGI GESEKAN BIOLA, GEMERCIK AIR DAN DESIR ANGIN .
SEORANG KAKEK SEDANG TERMANGU SAMBIL MEMENGANG PISAU CUKUR.

LAKI-LAKI
Assalamualaikum… assalamualaikum… assalamualaikum. Biasanya kakek gembira menerima kedatanganku, karena aku suka memberinya uang, tapi sekali ini begitu muram.Tidak pernah aku melihat kakek begitu durja dan belum pernah salamku tak disahutinya seperti saat ini.

LAKI-LAKI ITU MENGAMBIL SALAH SATU PISAU CUKUR YANG TERGELETAK DI SAMPING SI KAKEK.

LAKI-LAKI
Pisau siap, Kek ?

KAKEK
Ajo Sidi !

LAKI-LAKI
Ajo Sidi ? ( KAKEK TIDAK MENYAHUT. HENING SEJENAK ) Apa Ajo Sidi telah membuat bualan tentang Kakek ?

KAKEK
Siapa ?
LAKI-LAKI
Ajo Sidi.
KAKEK
Kurang ajar dia.
LAKI-LAKI
Kenapa, Kek ?
KAKEK
Mudah-mudahan pisau cukur ini, yang kuasah tajam-tajam ini, menggorok tenggorokannya.
LAKI-LAKI
Kakek marah ?
KAKEK
Marah ? Ya, kalau aku masih muda, tapi aku sudah tua. Orang tua menahan ragam. Sudah lama aku tidak marah-marah lagi. Takut kalau imanku rusak karenanya, ibadahku rusak karenanya. Sudah begitu lama aku berbuat baik, beribadah, bertawakal kepada Allah. Sudah begitu lama aku menyerahkan diri kepadaNya. Dan Allah akan mengasihi orang yang sabar dan tawakal.
LAKI-LAKI
Bagaimana katanya, Kek ? ( KAKE DIAM SAJA. BERAT HATI BICARA ). Bagaimana katanya, Kek ?
KAKEK
Kau kenal padaku, bukan ? Sedari kecilkau aku sudah di sini. Sedari muda, bukan ? Kau tahu apa yang aku lakukan semua, bukan ? Terkutuklah perbuatanku ? Dikutuki Tuhan kah semua pekerjaanku ? DIAM SEJENAK. Sedari muda aku di sini, bukan ? Tak kuingat punya istri, punya anak, penya keluarga seperti orang lain, tahu ? Tak kupikirkan hidupku sendiri. Aku tidak ingin cari kaya, bikin rumah. Segala kehidupanku,lahir batin, kuserahkan pada Allah subhanahu wata’ala. Tak pernah aku menyusahkan orang lain. Lalat seekor enggan membunuhnya. Tapi kini aku dikatakan manusia terkutuk. Umpan neraka. Marahakah Tuhan kalau itu yang kulakukan, sangkamu ? Akan dikutukiNya aku kalau selama hidupku aku mengabdi kepadaNya ? Tak kupikirkan hari esok,karena aku yakin Allah itu ada dan pengasih penyang kepada umatNya yang tawakal. Aku bangun pagi-pagi. Aku bersuci. Aku pukul beduk, membangunkan setiap waktu. Aku puji-puji Dia. Aku baca kitabNya. Apa salah pekerjaanku itu ? Tapi kini aku dikatakan manusia terkutuk.
LAKI-LAKI
Ia katakan Kakek begitu ?
KAKEK
Ia tidak mengatakan aku terkutuk. Tapi begitulah kira-kira.
LAKI-LAKI
Ajo Sidi memang kurang ajar. Apa lagi yang dikatakan Ajo Sidi, Kek ?
KAKEK
Pada suatu waktu dia bicara padaku. Dia bialang.
MUSIK BERGEMURUH.
AJO SIDI
Di akhirat Allah memeriksa orang-orang yang sudah berpulang. Para malaikat bertugas di sampingNya. Ditangan mereka tergenggam daftar dosa dan pahala manusia. Bigitu banyak orang yang diperiksa. Maklumlah di mana-mana ada perang. Dan diantara orang-orang yang diperiksa itu ada seorang yang di dunia dinamai Haji Saleh. Haji Saleh itu tersenyum-senyum saja, karena ia sudah begitu yakin akan dimasukan ke surga. Ketika dilihatnya orang-orang yang masuk neraka, bibirnya menyunggingkan senyuman ejekan. Dan ketika ia melihat orang yang masuk surga, ia melambaikan tangannya,seolah hendak mengatakan "sampai ketemu nanti ". Begitu tak habis-habisnya orang yang berantri, begitu panjangnya. Susut di muka bertambah di belakang. Akhirnya sampai giliran Haji Saleh.
MUSIK BERGEMA, ANGIN BERGEMURUH.
SUARA
Engkau siapa?
HAJI SALEH
Aku Saleh. Karena aku sudah ke mekah Haji Saleh namaku. Tuan ini siapa ?
SUARA
Jangan banyak bertanya. Apa kerjamu di dunia ?
HAJI SALEH
Aku menyembah Tuhan.
SUARA
Lain ?
HAJI SALEH
Setiap hari, setiap malam, bahkan setiap masa aku menyebut-nyebut nama-Nya.
SUARA
Lain ?
HAJI SALEH
Segala larangan-Nya kuhentikan. Tidak pernah aku berbuat jahat, walau dunia seluruhnya penuh oleh dosa-dosa yang dibisikan iblis laknat itu.
SUARA
Lain ?
HAJI SALEH
Tak ada pekerjaanku selain beribadat padaNya, menyebut-nyebut namaNya. Bahkan ketika aku sakit namaNya menjadi buah bibirku juga. Dan aku selalu berdoa, mendoakan kemurahan hatiNya untuk nginsafkan umatNya.
SUARA
Lain ?
LAMPU MENYINARI OJO SIDI YANG MELANJUTKAN DONGENGANNYA.
AJO SIDI
Haji saleh tak dapat menjawab lagi. Ia telah menceritakan segalanya yang ia kerjakan. Tapi ia insaf, bahwa pertanyaan yang dilontakan bukan asal bertanya saja, tentu ada lagi yang dikatakannya. Ia termenung dan menekurkan kepalanya. Hawa panas api neraka tiba-tiba menghembus ketubuh Haji Saleh. Dan ia menangis. Tapi setiap airmatanya mengalir, di isap kering oleh hawa panas neraka itu.
MUSIK BERGEMA. HAJI SALEH MENGIGIL KETAKUTAN. ORANG-ORANG BERGERAK SEPERTI JOMBI.
SUARA
Lain lagi ?
HAJI SALEH
Sudah saya ceritakan semuanya. Oh, Tuhan yang Maha Besar, lagi pengasih dan penyayang, Adil dan Maha Tahu.
SUARA
Tidak ada lagi ?
HAJI SALEH
Oh, o, oo, aku selalu membaca kitabNya.
SUARA
Lain ?
HAJI SALEH
Sudah kuceritakan semuanya. Tapi kalau ada yang aku lupa aku mengatakannya, aku pun bersyukur karena yang maha tahu itu Tuhan.
SUARA
Sungguh tidak ada lagi yang kau kerjakan di dunia selain yang kau ceritakan tadi ?
HAJI SALEH
Ya, itulah semuanya.
SUARA
Maksud kamu ?
MUSIK BERGEMURUH.
AJO SIDI
Haji saleh tidak bisa melanjutkan kata-katanya lagi. Dan malaikat dengan sigapnya menjewer Haji Saleh ke neraka. Haji Saleh tidak mengerti mengapa ia dibawa ke neraka. Ia tidak mengerti apa yang dikehendaki Tuhan daripadanya dan ia percaya Tuhan tidak silap.
PENDONGENG 1
Alangkah tercengangnya Haji Saleh, karena di neraka itu banyak teman-temannya di dunia terpanggang hangus, merintih kesakitan. Dan ia tak tambah mengerti dengan keadaan dirinya, karena yang dilihatnya di neraka itu tidak kurang ibadahnya dari diri dia sendiri. Bahkan ada salah seorang yang telah sampai empat belas kali ke mekah dan bergelar Syekh pula.
PENDONGENG 2
Lalu haji Saleh mendekati mereka, dan bertanya pada mereka kenapa berada di neraka semuanya. Tapi sebagaimana haji Saelah orang-orang out pun tak mengerti juga.
SEMUA ORANG BERISTIGFAR.
HAJI SALEH
Bagaimana ini ? Bukankah kita disuruhNya taat beribadah, teguh beriman ? Dan itu semua telah kita kerjakan selelama hidup kita. Tapi kita kini dimasukan ke dalam neraka.
TOKOH LAIN
Ya kami juga heran. Tengoklah itu orang-orang senegeri dengan kita semua, dan tak kurang ketaatannya beribadat.
HAJI SALEH
Ini sungguh tidak adil.
ORANG-ORANG
Memang tidak adil.
HAJI SALEH
Kita harus mengingatkan Dia, kalau-kalau Ia silap memasukan kita ke neraka ini.
ORANG-ORANG
Benar, benar, benar.
TOKOH LAIN 2
Kalau dia tidak mau mengakui kesilafanNya, bagaimana ?
HAJI SALEH
Kita protes. Kita resolusikan.
TOKOH LAIN 3
Apa kita revolusikan juga ?
HAJI SALEH
Itu tergantung kepada keadaan. Yang penting sekarang, mari kita berdemontrasi mengadapNya.
TOKOH LAIN
Cocok sekali. Di dunia dulu dengan demontrasi saja, banyak yang kita peroleh.
ORANG-ORANG
Setuju, setuju, setuju.
SEMUA ORANG BERGERAK. MUSIK BERGEMURUH.
HAJI SALEH
Oh, Tuhan kami Yang Maha Besar. Kami menghadapMu. Ini adalah umatMu yang paling taat beribadat, yang pang taat menyembahMu. Kamilah orang-orang yang selalu menyebut NamaMu, memuji-muji kebesaranMu, mempropagandakan keadilanMu, dan lain-lainnya. KitabMu kami hapal di luar kepala kami. Tidak sesat sedikitpun kami membacanya. Akan tetapi Tuhanku Yang Maha Kuasa, setelah Engkau kami panggil kemari, Engkau masukan kami ke neraka. Maka sebelum terjadi hal-hal yang tidak diingini, di sini, atas nama orang-orang yang cinta kepadaMu, kami menuntut agar hukuman yang Kau jatuhkan kepada kami ditinjau kembali dan memasukan kami ke surga sebagaimana yang Engkau janjikan dalam kitabMu…. Mari kita menghadap Dia.
ORANG-ORANG BERGERAK SEPERTI AKAN DEMONTRASI.
SUARA
Kalian mau apa lagi.
HAJI SALEH
Kami ingin bertemu Tuhan.
SUARA
Tidak bisa.
HAJI SALEH
Harus ini sangat penting. Ini menyangkut nasib kami.
SUARA
Kamu mesti tahu. Tuhan telah menugaskan aku untuk menuntut kalian.
HAJI SALEH
Kamu ini sebenarnya siapa ?
SUARA
Tadi kan sudah kukatakan, aku adalah dirimu sendiri dan kalian semua.
HAJI SALEH
Aku tidak peduli…
SUARA
Sudah jangan banyak cingcong. Sekarang aku bertanya lagi pada kalian. Kalian di dunia tinggal di mana ?
HAJI SALEH
Kami ini adalah umat Tuhan yang tinggal di Indonesia.
SUARA
Oh, di negeri yang tanahnya subur itu ?
HAJI SALEH
Ya, benar.
SUARA
Tanah yang kaya raya, penuh dengan logam, minyak dan berbagai bahan tambang lainnya, bukan ?
ORANG-ORANG
Benar, benar, itulah negeri kami.
SUARA
Di negeri yang tanahnya begitu subur, hingga tanaman tumbuh tanpa di tanam ?
ORANG-ORANG
Benar, benar itulah negeri kami.
SUARA
Di negeri di mana penduduknya sendiri meralat ?
ORANG-ORANG
Ya, Ya, itu negeri kami.
SUARA
Negeri yang di perbudak orang lain ?
TOKOH LAIN
Ya sungguh laknat penjajah itu.
SUARA
Dan hasil tanahmu, mereka yang mengeruknya, dan diangkutnya, dijarah, bukan ?
TOKOH LAIN 2
Benar. Hingga kami tidak mendapat apa-apa lagi. Sungguh laknat mereka itu.
SUARA
Di negeri yang selalu kacau itu, hingga kamu dan kamu selalu berkelahi, sedang hasil tanahmu orang lain juga yang mengambilnya, bukan ?
HAJI SALEH
Benar. Tapi bagi kami soal harta benda itu tidak mau tahu. Yang penting bagi kami ialah menyembah dan memuji Tuhan.
SUARA
Engkau rela tetap meralat, bukan ?
ORANG-ORANG
Benar kami rela sekali.
SUARA
Karena kerelaanmu itu, anak cucumu tetap juga meralat, bukan ?
TOKOH LAIN
Sungguhpun anak cucu kami meralat, tapi mereka semua pintar mengaji. Alkitab mereka hapal di luar kepala.
SUARA
Kalau ada, kenapa engkau biarkan dirimu melarat, hingga anak cucumu teraniaya semuanya. Sedang harta bendamu kau biarkan orang lain mengagambilnya untuk anak cucu mereka. Dan engkau lebih suka berkelahi antar kamu sendiri, saling menipu, saling memeras. Tuhan beri negeri yang kaya raya, tapi kau malas. Kau lebih suka beribadat saja, karena beribadat tidak mengeluarkan peluh, tidak membanting tulang. Sedangkan Tuhan menyuruh engkau beramal disamping beribadah. Bagaimana engkau bisa beramal kalau engkau miskin. Engkau kira Tuhan suka pujian, mabuk disembah saja. Tidak ! Karena itu kamu semua masuk neraka dan di letakan di keraknya.
ORANG-ORANG TIDAK BERGERAK APA-APA LAGI. MEREKA TERMANGU, TAPI HAJI SALEH MASIH SAJA TIDAK PUAS.
HAJI SALEH
Salahkah menurut pendapatmu, kalau kami menyembah Tuhan di dunia ?
SUARA
Tidak. Kesalahan engkau, karena engkau telah mementingkan diri sendiri. Kau takut masuk neraka, karena itu kau taat bersembahyang. Tapi engkau melupakan kehidupan kaumu sendiri, melupakan kehidupan anak istrimu sendiri, sehingga mereka itu kocar-kacir selamanya. Itulah kesalahanmu yang terbesar, terlalu egois. Padahal engkau di dunia berkaum, bersaudara semuanya, tapi engkau tak memperdulikan mereka sedikitpun.
MUSIK TERDENGAR MEMILUKAN.
TERDENGAR SESEORANG BERTERIAK.
SAYUP-SAYUP SESEORANG SEDANG MENGAJI.
SESEORANG
Bunuh diri. Ada yang bunuh diri.
ORANG-ORANG
Di mana ?
SESEORANG
Di surau. Ia menggorok lehernya dengan sebilah pisau cukur.
ORANG-ORANG
Astagfirulahal’adzim.
ORANG-ORANG BERGERAK.

PEREMPUAN
Mas. Mas. Mas. Apa tidak menjenguk ?

LAKI-LAKI
Siapa yang meninggal ?

PEREMPUAN
Kakek.

LAKI-LAKI
Kakek ?

PEREMPUAN
Ya, tadi subuh kakek kedapatan mati di suraunya dalam keadaan yang mengerikan sekali. Ia menggorok lehernya dengan pisau cukur.

LAKI-LAKI
Astagfirulahal’adzim. Ini pasti gara-gara Ajo Sidi.

SEMUA DIAM.

PIMPINAN PENTAS

Ternyata kita tidak bias lepas dari kenyataan. Hidup dan mati bukanlah milik kita. Kita di sini hanya mengembara dan kita semua akan kembali. Kematian memang menyedikan, tapi yangpiling menyedihkan jika kerja keras kita hasilnya sia-sia.

MUSIK BERGEMURUH.

WASSALAM
TAMAT

Catatan :
Cerita ini diambil dari sebuah cerpen " Robohnya Surau Kami " karya AA. Navis.

Monday, September 10, 2007

TALI KASIH YANG TERKOYAK


Cerita Pendek Hermana HMT

Pagi itu langit tak secerah hari-hari sebelumnya. Bagai sebuah brikade, gumpalan asap hitam sisa dari pembakaran rumah berarak tertiup angin mengitari pedusunan. Daerah yang pada mulanya penuh kedamaian dan sarat akan berbagai aktivitas kehidupan, namun pagi itu mendadak mati kutu, sunyi ditelan kerusuhan, kecemasan dan ketakutan para penduduknya.
Nan jauh di sana, di jalan setapak, di belakan iring-iringan para pengungsi seorang nenek dan seorang anak laki-laki berusia sekitar empat tahun turut pergi menghindari kekacauan yang menimpa dusunnya. Menelusuri kehidupan baru yang belum jelas dapat menentukan arah nasibnya.
“ Nek, kita mau ke mana ?” Tanya sang anak.
“ Kita akan pergi jauh , di sini sudah tidak aman, “ jawab sang nenek.
“ Aku lapar, nek.”
“ Tahanlah barang sebentar. “
“ Nenek enggak bawa nasi, ya ? “
“ Nasi dari mana ? Bukankah rumah kita berserta isinya termasuk beras sudah habis terbakar.”
“ Kenapa orang jahat sama kita, ya Nek ? “
“ Entahlah. Nenek juga tidak mengerti.”
Wajah sang Nenek dan anak kecil itu semakin lusuh. Keringat semakin membasahi tubuhnya dan jarak perjalanan mereka dengan iring-iringan para pengungsi pun semakin jauh.
“ Nek, capek. “
“ Kita istirahat dulu di sini, nak,” mereka menghentikan langkah kakinya dan beristirahat.
Sepoi angin yang menerpa badan mengantarkan sang Nenek teringat lagi ke massa-massa indah bersama anak cucunya yang penuh kehangatan, pada rumahnya yang tertata rapi, pada kebun durian, pada kebun dukuh dan pohon-pohon pala yang sedang lebat berbuah. Namun kini, semua itu tinggalah kenang dan entah kapan akan kembali menjadi miliknya. “Tuhan, inikah yang namanya suratan takdir ? “ sang Nenek mengeluhkan nasibnya.
Anak kecil itu menatapnya. “ Takdir itu siapa, Nek ? Penjahat, ya ?”
“ Bukan. Takdir bukan sejinis mahluk hidup seperti kita.”
“ Jidi apa, Nek ? “
“ Takdir itu adalah suatu ketetapan.”
“ Suatu ketetapan… Apa itu, Nek ? “
“ Sesuatu…. ya sesuatu. Suatu yang tidak tampak, hanya bisa dirasakan dan hanya bisa dilihat buktinya. Salah satu contahnya orang meninggal dunia.”
“ Enggak ngerti, Nek.”
Sang Nenek berusaha menjelaskan. “ Takdir itu adalah… apa, ya? Eh.. Hukum… Bukan-bukan. Tapi kehendak Tuhan yang tidak bisa dihalang-halang lagi. Diantanya; semua orang pasti akan sehat, semua orang pasti akan sakit dan semua orang pasti akan mati. Mengerti ? “
“ Enggak.”
“ Nanti sudah gede kamu akan tahu dan mengerti sendiri. Bagaimana, sudah tidak capek lagi ? “
“ Enggak.”
“ Sekarang kita jalan lagi, ya.”
“ Masih jauh, Nek ? “
“ Masih.”
Kemudian sang Nenek bersama anak kecil itu melanjutkan lagi perjalanannya. Entah ke mana mereka akan menuju. Mungkinkah sama halnya dengan iring-iringan para pengungsi ? Samakin tidak tidak jelas, semakin tidak punya kepastian.
“ Nek, kita mau ke mana lagi ?
“ Mencari harapan baru, nak. “
“ Harapan itu apa ? “
“ Yang kita impikan. Seperti banyak harta, hidup senang, aman dan tentram.”
“ Sekarang kita kan orang miskin. Berarti kita tidak punya harapan, ya Nek? “
“ Harapan itu tetap ada, dukapun sama. Keduanya berjalan seiring. Seperti tubuh kita dengan beyangannya. “
“ Enggak ngerti lagi, Nek.
Sang Nenek tersenyum sambil mengelus-elus rambut si anak dengan tangan kanannya, dan pertanyaan pun terus bergulir dari mulut yang baru pintar bicara itu.
“ Nek, kenapa orang suka membunuh ? Seperti membunuh ayah dan ibuku.”
Sejenak sang Nenek termengu, “ kenapa ya ? Nenek pikir… karena… karena dalam diri mereka hanya ada marah dan dendam. Mereka itu sudah tidak punya tali kasih lagi. Tali kasih mereka sudah terkoyak. “
“ Talikasih itu apa, Nek ?”
“ Tali yang menyambungkan antara hati yang satu dengan yang lain, sehingga timbulah rasa cinta dan kasih sayang, tidak ada saling benci dan dendam. Seperti kamu dengan Nenek. Kamu sayang tidak sama Nenek ?”
“ Sayang.”
“ Kalau nenek pergi dan kamu ditinggal di sini mau tidak ?”
“ Enggak mau.”
“ Kamu akan sedih atau tidak jika nenek pergi tanpa membawa sertamu ?”
“ Sedih.”
“ Nah, seperti itulah kalau tali kasih sudah mengikat erat diantara hati yang satu dengan hati lainnya. Jangankan mau membunuh, ditinggal pergi saja sudah tidak mau dan akan bersedih hati. “ Sang Nenek tersenyum melihat cucunya yang melongok menatapnya,” pasti kamu tidak ngerti lagi, ya ?”
Si anak tersenyum, “ iya Nek ”
“ Mau mengerti ?”
“ Mau ! Mau, Nek.”
“ Dari sekarang kamu harus mempersiapkan badan, pikiran dan persan yang kamu miliki. Besarkan badanmu hingga dewasa, asah pikiranmu sampai tajam, lembutkan perasanmu sehalus sutra. Bergurulah pada orang-orang pintar dan alam semesta ini. Dengan pasti kamu akan tahu segalanya, termasuk pertanyaan-pertanyanmu itu dan kamu tidak akan melakukan tindakan bodoh yang sering dilakukan orang-orang. Paham ?”
“ Ya, Nek. Tapi… kayanya kita balik lagi, Nek. Ini kan pohon kering yang tadi kita lewati,” anak itu kebinguangan.
“Yang benar ? “ sang Nenek terkejut.
“ Betul, Nek. Tadi … ya, di sini aku duduk.”
“ Berarti kita kembali lagi ke tempat semula.”
“ Nek, aku takut.”
“ Tidak apa-apa. Tenang saja… Tapi, ke mana lagi kita harus berjalan.
“ Nek, pusing.”
“ Tahan, perjalanan kita masih jauh.”
Tubuh anak itu menggigil, “ aduh Nek, sakit.”
“ Paksakan tahan. Sebentar lagi matahari akan terbenam, kita jangan sampai kemalaman di sini.”
“ Tidak kuat lagi, Nek, ” lalu terkulai jatuh ke tanah.
Kecapaian dan kelaparan membuat ketahanan tubuh anak itu tidak setabil lagi. Akhirnya panas dingin yang tiba-tiba menyerang tubuhnya membuat dia pinsan di pangkuan sang Nenek. Dan perjalanan para pengungsi yang diikutinya tadi, kiranya sudah sangat jauh serta tak mungkin tersusul untuk dimintai tolong.

***