NAVITHA NAVINDARAN : ODISI ROMANSA

 

On 16 May 2026, Odisi Romansa was staged at the Black Box, Damansara Performing Arts Centre (DPAC) as part of its performance run from 8 to 10 and 14 to 17 May 2026. Written and directed by Ridhwan Saidi, and produced by Moka Mocha Ink together with Ensemble Teater Kaos Nol, the production presents a futuristic world where humanity has become extinct, leaving androids to inherit human memories, language, love, and history. Although the play is set thousands of years after the disappearance of humankind, it ultimately explores timeless questions about identity, loneliness, choice, and the desire to find meaning in existence. These concerns closely reflect Jean-Paul Sartre’s existentialist thought, where existence is shaped not by predetermined purpose but by the choices individuals make and the responsibility they bear for those choices.

 

The story revolves around three central figures, Android Y-002, Android Z-001, and the Computer. At the beginning of the play, the audience is introduced to a quiet world where androids continue their programmed routines despite the extinction of humanity. The first exchange immediately establishes emotional distance and loneliness when Android Y simply says, “Tunggu”, followed by “Teman saya”. This simple request introduces one of the production’s strongest themes, even artificial beings seek companionship despite existing in a seemingly emotionless world. As the narrative progresses, Android Y begins questioning experiences that should not belong to machines. When asked, “Apa perasaan awak?”, Android Z replies, “Rata”. However, Android Y later admits, “Saya hangat. Rasa hidup. Lebih hidup dari hidup, seperti manusia”.

 

The story later follows Android Z’s journey across the universe while Android Y remains behind. Their communication gradually becomes slower as distance increases, turning every video message into a reminder that time separates individuals more effectively than physical space. The final act pushes Android Z into complete isolation after entering the darkness surrounding a supermassive black hole. Haunted by memories, visions of humanity, and fragments of Android Y, the character eventually chooses to erase every memory, only to discover that emptiness itself cannot remove the traces of love and existence.

 

One of the play’s greatest strengths lies in its refusal to present existence as something predetermined. Although every android begins with a fixed function, the drama repeatedly challenges the idea that one’s purpose is permanently decided. This conflict appears early when Android Y insists, “Kita salinan manusia, kita bakal jadi manusia”. Android Z immediately responds, “Tapi bukan salinan sempurna”. This disagreement establishes the central dramatic conflict. The issue is not whether androids can imitate humans, but whether an existence built upon imitation can ever become authentic. This conflict becomes clearer when Android Y says, “Setiap dari kita tak lengkap bila dibandingkan dengan benda lain”.

 

Perhaps the play’s strongest dramatic conflict appears during the firmware crisis. Earlier, Android Y confidently declares, “Tujuan akhir kita adalah untuk jadi sempurna macam manusia”. Later, another message desperately warns, “Jangan naik taraf perisian tegar manusia.exe”. The contradiction reveals that blindly pursuing perfection often produces violence instead. The civil war between “android-purist” and “android-manusiawi” mirrors contemporary societies where technological progress frequently creates new divisions instead of solving old problems.

 

Beyond its science-fiction setting, Odisi Romansa argues that existence gains meaning not through perfect design, but through the choices individuals make when certainty no longer exists. Although the androids are created with predetermined functions, they repeatedly act beyond those functions. Android Z admits, “Kita telah jauh dari Bumi, tapi kita masih menjadikan waktu Bumi sebagai paksi kita”. This statement extends beyond measuring time. It suggests that even after leaving their creators behind, the androids continue allowing the past to determine their present.

 

The play becomes especially powerful during Android Z’s confrontation with the ghostly Android Y and the manifestation of Humanity. They repeatedly insist, “Ada serpihan manusia di dalam setiap android”. However, Android Z refuses to accept this definition without question. He answers, “Aku tak mahu jadi manusia dan aku tak akan membunuh”. This moment represents one of the strongest dramatic choices in the play. Rather than accepting that becoming “human” means repeating violence and destruction, Android Z rejects that path completely. The script therefore suggests that identity should never be inherited blindly. Instead, it must be formed through conscious decisions.

 

Nevertheless, several poetic passages, such as “Api ledak mengorbit dinda...”, are so abstract that they may distance audiences from the emotional conflict. While this poetic language forms part of the production's identity, simplifying a few exchanges could strengthen emotional engagement without reducing its philosophical depth.

 

Overall, Odisi Romansa succeeds as a thought-provoking theatrical work because it invites audiences to question what it truly means to exist, to remember, and to love. Rather than presenting androids as emotionless machines, the drama gradually reveals that humanity is not defined by biology but by one’s willingness to choose, hope, remember, and take responsibility for those choices. The final scenes illustrate this beautifully. After erasing every memory, Android Z still confesses, “Di dalam kebekuan semesta, aku dapati di dalam diri aku, ada kehangatan dirimu”. Even after memory disappears, the warmth of another being continues to exist.

 

The ending further strengthens this idea through Android Y’s narration, “Kami juga mula menulis, merakam sejarah... saya suka. Ia mengisi ruang kosong kehidupan kami”. Writing becomes more than documentation. It becomes an intentional act of giving meaning to existence. Instead of allowing technology to record everything automatically, the characters deliberately choose to write their own history.

 

Despite its strengths, the production could make certain philosophical conversations more accessible. While its symbolism is rich, some extended metaphors may distance audiences from the emotional conflict. A few simpler exchanges between Android Y and Android Z could strengthen the emotional impact without sacrificing the play’s philosophical depth.

 

In conclusion, Odisi Romansa is more than a science-fiction love story. It explores loneliness, memory, freedom, and responsibility through characters who define themselves by their choices rather than their programming. By asking audiences whether humanity is defined by origin or by the choices one makes, the production offers a meaningful contribution to contemporary Malaysian theatre.

 

#MalaysianTheatre #OdisiRomansa #RidhwanSaidi