SITI MAISYARAH - RADIO 1964

Rajah 1: Poster monodrama Radio 1964.

Pada 3 Julai 2026, saya berpeluang menyaksikan pementasan monodrama Radio 1964 pada pukul 8.30 malam di Balai Tun Syed Nasir, Dewan Bahasa dan Pustaka (DBP), Kuala Lumpur. Monodrama yang berlangsung selama 40 minit ini diarahkan, ditulis dan dilakonkan oleh Aloy Paradoks serta diinspirasikan daripada cerpen Luka Sudah Sembuh karya Sasterawan Negara Abdullah Hussain. Berlatarkan peristiwa Konfrontasi Malaysia dan Indonesia pada tahun 1964, monodrama ini memaparkan kesan konflik politik terhadap kehidupan sepasang suami isteri, Firman dan Nuraini. 

Dalam kritikan ini, saya menggunakan Pendekatan Sosiologi kerana pendekatan ini melihat hubungan antara karya dengan masyarakat. Menurut Lucien Goldmann, sesebuah karya lahir daripada realiti sosial pada zamannya. Pada pandangan saya, Radio 1964 berjaya mengangkat isu kesan konflik politik terhadap kehidupan rakyat biasa dengan baik. Namun begitu, masih terdapat beberapa aspek persembahan yang boleh dipertingkatkan bagi menjadikan penyampaian mesejnya lebih berkesan.

Dari sudut deskripsi, monodrama ini mengisahkan Firman yang hidup dalam penantian selepas isterinya, Nuraini, pulang ke Medan tetapi gagal kembali ke Malaysia. Situasi tersebut berlaku ketika Konfrontasi Malaysia dan Indonesia di bawah pimpinan Presiden Indonesia, Soekarno. Firman kemudian mengetahui bahawa Nuraini telah ditahan oleh pihak berkuasa selepas menyertai satu demonstrasi. Dalam masa yang sama, identitinya sebagai seorang wartawan turut terbongkar, menyebabkan dia tidak dapat pulang ke Malaysia seperti yang dirancang. Lebih menyedihkan, Nuraini ketika itu sedang mengandungkan anak pertama mereka. Firman terus hidup dalam penantian kerana tidak mengetahui keadaan isterinya. Dia juga tidak mengetahui sama ada anak pertama mereka telah dilahirkan ataupun tidak. Penceritaan disampaikan melalui monolog yang diselang-selikan dengan siaran radio, dialog berbentuk puitis serta beberapa unsur jenaka yang berjaya menarik perhatian penonton.

Melalui Pendekatan Sosiologi berdasarkan Teori Strukturalisme Genetik oleh Lucien Goldmann, sesebuah karya dilihat sebagai cerminan realiti masyarakat dan dipengaruhi oleh latar sosial, sejarah serta politik pada zamannya. Oleh itu, sesuatu karya bukan sekadar menyampaikan cerita, malah menggambarkan pengalaman dan masalah yang dihadapi oleh masyarakat. Hal ini jelas dapat dilihat dalam Radio 1964 apabila konflik politik dijadikan punca utama kepada penderitaan Firman dan Nuraini. Mereka bukan pemimpin negara atau individu yang mencetuskan konflik, tetapi tetap menjadi mangsa keadaan. Pilihan Aloy Paradoks untuk memfokuskan kisah sebuah keluarga berbanding peristiwa politik itu sendiri berjaya menunjukkan bahawa rakyat biasa sering menerima kesan paling besar daripada sesuatu konflik. Melalui kisah Firman dan Nuraini, penonton dapat melihat bahawa keputusan politik yang dibuat oleh pihak pemerintah bukan sahaja memberi kesan kepada hubungan antara negara, malah ia turut memusnahkan kebahagiaan dan masa depan sesebuah keluarga.

Penggunaan radio juga memberikan impak terhadap penyampaian isu tersebut. Radio bukan sekadar alat komunikasi, malah menjadi simbol kepada perkembangan situasi politik yang mempengaruhi kehidupan Firman. Teknik lip sync yang digunakan oleh pelakon ketika nyanyian juga berjaya membuat penonton percaya dan tertarik terhadap nyanyian tersebut. Selain itu, dialog yang berbentuk puitis berjaya menggambarkan betapa rindunya Firman terhadap Nuraini tanpa perlu menggunakan dialog yang berlebihan.

Lakonan Aloy Paradoks turut menguatkan isu yang ingin diketengahkan. Beliau berjaya membawa lebih daripada satu personaliti dalam persembahan, termasuk penggunaan loghat Perlis bagi watak Roslan. Walaupun hanya seorang pelakon berada di atas pentas, beliau berjaya mengekalkan perhatian penonton sepanjang persembahan. Unsur jenaka yang diselitkan dalam beberapa babak turut mendapat reaksi yang baik daripada penonton tanpa menjejaskan mesej utama yang ingin disampaikan.

Pada pendapat saya, Radio 1964 bukan sekadar mengisahkan kerinduan seorang suami terhadap isterinya. Sebaliknya, monodrama ini mengkritik bagaimana konflik politik mampu memusnahkan kebahagiaan sebuah keluarga. Firman kehilangan peluang untuk bersama isterinya, malah tidak mengetahui keadaan anaknya sendiri akibat konflik yang berlaku antara dua negara. Melalui kisah ini, Aloy Paradoks mengingatkan penonton bahawa setiap keputusan politik bukan sahaja memberi kesan kepada hubungan diplomatik, tetapi turut memberi kesan kepada kehidupan masyarakat.

Walaupun kisah ini berlaku pada tahun 1964, isu yang diketengahkan masih relevan pada masa kini. Sehingga hari ini, konflik politik di beberapa negara masih menyebabkan ramai keluarga terpisah dan hidup dalam ketidakpastian. Oleh itu, mesej yang dibawa dalam Radio 1964 masih sesuai untuk dijadikan peringatan kepada masyarakat tentang pentingnya keamanan dan nilai kemanusiaan.

Secara keseluruhannya, saya bersetuju dengan pilihan Aloy Paradoks untuk mengangkat isu kesan konflik politik terhadap sesebuah keluarga kerana isu tersebut berjaya disampaikan dengan jelas dan mudah difahami oleh penonton. Lakonan yang meyakinkan, dialog yang berbentuk puisi, unsur jenaka serta penggunaan radio sebagai simbol berjaya menyampaikan mesej dalam cerita tersebut. Selain itu, penggunaan set pentas yang ringkas seperti rak baju, meja bulat, dua buah kerusi dan mesin taip juga bersesuaian dengan konsep monodrama serta membolehkan penonton memberi tumpuan terhadap isu yang dibangkitkan.

Walau bagaimanapun, pada pandangan saya, penggunaan pencahayaan boleh dipelbagaikan mengikut perkembangan cerita. Pada permulaan persembahan, gabungan cahaya oren dan putih berjaya mewujudkan suasana klasik yang sesuai dengan latar tahun 1964. Namun, penggunaan pencahayaan yang hampir sama sepanjang persembahan menyebabkan perubahan emosi watak kurang dirasai oleh penonton. Sebagai contoh, adegan Nuraini ditahan, Firman mengetahui bahawa isterinya sedang mengandung dan penerimaan surat daripada Nuraini boleh diperkukuhkan dengan perubahan pencahayaan yang lebih ketara. Walaupun pencahayaan pada penghujung persembahan berjaya menggambarkan kegembiraan apabila hubungan antara Malaysia dan Indonesia kembali pulih, penggunaan variasi pencahayaan pada babak-babak penting akan memberikan kesan emosi yang lebih mendalam kepada penonton.

Kesimpulannya, Radio 1964 berjaya membuktikan bahawa teater mampu menjadi medium untuk mengangkat isu kemanusiaan melalui peristiwa sejarah. Aloy Paradoks bukan sekadar menceritakan kisah Firman dan Nuraini, malah mengajak penonton menyedari bahawa di sebalik sesuatu konflik politik, terdapat insan yang terpaksa hidup dalam penantian, terpisah daripada keluarga serta kehilangan peluang untuk bersama orang yang disayangi. Saya berharap monodrama ini terus dipentaskan kepada masyarakat kerana mesej yang dibawanya masih relevan dan wajar terus untuk diperkatakan.

Rajah 2: Pementasan Teater Antara Wilayah Selatan sempena Ulang Tahun ke-70 Dewan Bahasa dan Pustaka dan Ulang Tahun ke-25 DBP Wilayah Selatan.

#Radio1964 #DewanBahasadanPustaka

 

DINESWARAN M ANADARAJA - A BETTER PLACE

On 6 June 2026, at Main Auditorium Faculty of Education,Universiti Malaya.This production is presented by students of TIENAS English & the Performing Arts,Bachelor of English Language & Linguisties 2025/26.

I went to watch A Better Place is a psychological theatre production about four sisters growing up in a strict and emotionally abusive family. The play explores depression, self-harm, suicide, and family pressure while showing how emotional abuse slowly destroys a person's mental health. It encourages the audience to reflect on the hidden struggles behind a "perfect family." Although the actors showed commitment to their roles, I believe several directing choices reduced the emotional impact of the performance. Stronger direction could have created a deeper emotional connection with the audience.

The casting was one of the production's strengths. Each actor suited their character well. Ophelia appeared gentle and caring, Isabella portrayed a rebellious teenager struggling with mental health, Clara showed emotional detachment, while Lydia reflected innocence and the desire to be heard. Their costumes and stage presence matched the characters. However, acting is more than looking like the character. Every emotion should feel natural, and every line should be delivered with genuine feeling.

From a psychoanalytic perspective, human behaviour is shaped by unconscious emotions, repressed trauma, and unresolved conflicts. The Bennett sisters' actions are the result of years of emotional abuse and fear. Therefore, the actors needed to express these hidden emotions through silence, hesitation, facial expressions, and natural reactions instead of only through crying or shouting. However, some dialogue lacked emotional authenticity. The dialogue tempo and rhythm often felt unnatural, almost as though the actors were waiting for their turn to speak instead of reacting to one another. There were also very few moments where the actors paused before responding. These quiet moments are important because they allow the audience to understand the characters' inner struggles. Without them, some conversations felt rushed, making it harder to connect with the sisters' psychological pain.

This became clearer during emotional scenes. Although the actors cried and showed sadness, I sometimes struggled to feel the emotions. Some performers covered their mouths or faces while crying, which affected voice projection and made parts of the dialogue difficult to hear. Since facial expressions are an important part of emotional acting, keeping them visible would have helped the audience better understand the characters' suffering.

The chemistry between Mr. Victor and Mrs. Evelyn also felt weak. Although they shared limited stage time, they represent the unhealthy relationship that shaped the family's trauma. Their interactions lacked emotional tension, making it difficult to believe they had lived through years of conflict together. Better eye contact, body language, and emotional reactions could have strengthened this relationship.

I also question the director's decision to use profanity so frequently. While harsh language reflects an abusive household, its repeated use reduced its dramatic impact. Since the play was performed in a university auditorium attended by students, lecturers, invited guests, and members of the public, using explicit language more selectively would have been more effective. Strong words should support the story, not distract from its important message.

The technical elements also had room for improvement. The lighting worked well during scenes like the "Red Room," but many long conversations relied only on general lighting. Different light intensity, spotlights, or gradual transitions could have reflected the characters' changing emotions more effectively. The sound design was also minimal. Since this is a psychological play, subtle sounds such as heartbeats, breathing, echoes, or whispers during scenes of trauma and dissociation could have strengthened the audience's emotional experience.

Despite these criticisms, one directing choice stood out positively. Having a character enter through the main auditorium entrance instead of the stage immediately drew the audience's attention and encouraged everyone to follow the character's movement. This creative use of the auditorium successfully increased audience engagement and made the performance feel more immersive.

Overall, A Better Place presents an important message about mental health and family abuse. However, from a psychoanalytic perspective, the production could have explored the characters' hidden emotions more deeply through its acting and directing. Better emotional pacing, stronger character chemistry, improved lighting and sound, and more careful use of profanity would have allowed the audience to better understand the sisters' unconscious trauma. These improvements would not only strengthen the artistic quality of the production but also leave a more meaningful and lasting emotional impact on the audience.

#abetterplace #performing arts

SRI SINIVASAN - A BETTER PLACE

 

On 6 June at 8.30 p.m., I watched the theatre performance which called “A Better Place” with my coursemate and friends. The Focus Of Criticism which I choosed is Issues in the drama. The play tells the story of Clara, a young woman who suffers from bipolar disorder or schizophrenia. She believes that her three sisters Ophelia, Isabella, and Lydia are still alive, even though they have all died. As the story develops, the audience slowly discovers the painful truth behind Clara’s hallucinations. The play focuses on mental illness, childhood trauma, family abuse, and the emotional effects of losing loved ones. I believe “A Better Place” successfully raises awareness about mental health and family violence, although there are a few areas that could be improved to make its message even stronger.

The story begins with Clara living happily with her sisters in what appears to be a peaceful environment. However, as the play continues, the audience learns about the dark reality of their childhood. Their abusive mother controlled every part of their lives, causing each sister to develop different emotional and psychological problems. Ophelia secretly meets her boyfriend, who constantly body shames her and lowers her self-confidence. Isabella depends on medication to function because she may have ADHD, but she also struggles with depression. Lydia, the youngest sister, often feels ignored because no one takes her opinions seriously. One day, Lydia accidentally overdoses on Isabella’s medication and dies. Isabella becomes deeply depressed, while Ophelia is locked in the basement after being caught meeting her boyfriend. In the final scene, the audience discovers that Clara is the only surviving sister, and everything she experienced with her sisters was part of her hallucination while living in a mental hospital.

From a psychological approach, the play effectively shows how trauma can affect a person's mind and behaviour. Psychological criticism focuses on understanding the emotions, mental condition, and unconscious thoughts of the characters. Clara’s hallucinations represent her inability to accept the painful loss of her family. Instead of facing reality, her mind creates an imaginary world where her sisters are still alive and living happily together. This reflects how severe emotional trauma can change a person's perception of reality. The play also shows that mental illness should not be judged as weakness but understood as a condition that requires care, treatment, and support.

The production also presents the effects of abuse on children. Every sister develops different emotional problems because of their mother's violence and control. This shows that trauma affects people in different ways. Some become depressed, some struggle with self-worth, and others try to escape reality. These issues remain highly relevant in today's society because many people continue to experience domestic violence, emotional abuse, and mental health problems but are afraid to speak about them. The play encourages the audience to think about the importance of protecting children, supporting mental health, and breaking the silence surrounding abuse. One of the strongest parts of the performance was the emotional storytelling. The twist at the end completely changed my understanding of the earlier scenes. After learning that Clara was imagining her sisters, many previous moments became more meaningful and heartbreaking. The play successfully encouraged the audience to experience Clara's confusion and emotional pain before revealing the truth. This made the final scene very powerful and memorable.

However, I believe some parts of the story could have been developed more clearly. The play introduces several important issues, including bipolar disorder, schizophrenia, ADHD, depression, body shaming, and domestic abuse. Because there are so many serious topics, some of them are not explored deeply enough. For example, Isabella's dependence on medication and Ophelia's emotionally abusive relationship could have received more stage time to help the audience better understand their struggles. In addition, the ending happened quite quickly. A slightly longer conclusion explaining Clara's recovery or treatment would have given the audience a stronger sense of hope after such an emotional story. Overall, I strongly agree with the production's decision to focus on mental illness and trauma because these issues are often misunderstood in society. Instead of presenting mental illness as something frightening, “A Better Place” shows that it is closely connected to painful life experiences and emotional suffering. This helps reduce stigma and encourages empathy towards people living with mental health conditions. The play reminds us that emotional wounds can remain for many years if they are not treated properly. As a response to the production, I would suggest adding a short discussion or message after the performance about mental health awareness and available support services. Since the play deals with sensitive issues such as abuse, depression, and hallucinations, providing educational information could help audiences better understand these conditions and encourage those who may need help to seek professional support.

In conclusion, “A Better Place” is a meaningful and emotionally powerful theatre performance that successfully highlights the lasting effects of family abuse and mental illness. Through the psychological approach, the audience gains a deeper understanding of Clara's hallucinations and the emotional trauma experienced by each sister. Although some parts could have been developed in greater detail, the production delivers an important social message that remains highly relevant today. It is a performance that not only entertains but also encourages audiences to reflect on mental health, family relationships, and the importance of compassion towards those who suffer in silence.

#theaterproduction #artsforlife #arts 

KOK CHIN YEE - IMAGINA

Image 1: Official Poster of Theatre Imagina

     Walking into the black box theatre at Aswara to watch Imagina, I was surprised by how different the stage looked from what I expected for a children's theatre production. Instead of a colourful or playful setting, the stage presented a cold, minimalist digital space. Sharp overhead lights cut through the haze, creating long shadows that made the performance feel tense and isolated. Merah, a bright but lonely child, moved stiffly across the stage as she tried to rebuild memories of her parents through a digital fantasy world she had created. As the story progressed and Pekan hacked into her world, the calm atmosphere quickly disappeared. The stage became visually chaotic, with lighting, movement, and sound working together to create a strong sense of confusion and anxiety that was impossible to ignore.

    In this review, I focus on the aesthetics of the performance, particularly how the production's visual design and narrative pacing influenced the audience's emotional experience. In my opinion, the minimalist visual style successfully reflects Merah's loneliness and emotional trauma after losing her parents. However, the production sometimes relies too heavily on abstract visuals and sudden shifts in the story, making it difficult for children to stay emotionally connected. While these artistic choices may be meaningful for adult audiences, they risk distancing the younger viewers whom the production is ultimately trying to reach. Rather than creating a comforting journey about healing and resilience, the performance occasionally feels more intellectually demanding than emotionally engaging.

    To better understand these aesthetic choices, it is useful to look at Bertolt Brecht's concept of the Verfremdungseffekt, or the alienation effect, from Epic Theatre. Brecht believed that theatre should encourage audiences to think critically instead of becoming completely absorbed in the story. Rather than creating a comfortable and emotionally immersive environment, Imagina adopts a similar approach by presenting a cold, digital world. The use of harsh lighting, minimal scenery, and sudden visual changes constantly reminds the audience that they are watching a constructed reality. This suggests that the production positions technology as an unstable emotional space, where memory and grief are not comforted but intensified through digital distortion. These design choices also reflect Merah's emotional state, emphasizing her loneliness, isolation, and dependence on the digital world she has created. The digital world can also be interpreted as a reflection of how children today often seek comfort in technology when dealing with loneliness.

    However, applying theatrical theory also requires careful consideration of the target audience. One moment that stood out to me was the scene in which Merah begins her game, only for the system to suddenly malfunction and transport her into a wartime setting. The lighting became intensely bright, the sound grew louder, and the atmosphere shifted almost instantly from playful to frightening. Although this scene effectively depicted the disruption of Merah's digital world, its execution felt overwhelming, especially for the young children seated on the floor near the stage. I noticed that some of them appeared startled and uncomfortable during this sequence. While Brecht's alienation effect is intended to encourage critical reflection, the intensity of this scene seemed to create fear rather than thoughtful engagement. In my view, the same dramatic message could have been communicated through a more controlled use of lighting and sound, allowing the production to maintain its artistic intention without overwhelming its youngest audience.

    Furthermore, this fragmented visual style is also reflected in the play's narrative structure, which at times feels disconnected. After Merah enters the wartime setting, she asks three soldiers to help her find her parents. Shortly afterwards, a scientist suddenly appears and attempts to solve the problem. When his attempt fails, he leaves, and Merah continues her journey alone until she meets a deer who guides her to a cave where the story reaches its resolution. While each character may have symbolic significance, their appearances are brief and underdeveloped, making their roles feel disconnected from Merah's overall journey. This may imply that the production is intentionally mirroring the unpredictability of a digital world, where assistance and obstacles appear without logical continuity, reflecting Merah’s unstable psychological journey. As a result, these scenes interrupt the emotional flow of the story rather than strengthening it. Instead of becoming more invested in Merah's search for her parents, I found myself questioning how each new character contributed to the narrative.

    Overall, Imagina demonstrates strong artistic ambition through its visual design and creative use of digital scenography. The minimalist setting, lighting, and multimedia elements create several memorable stage images that effectively communicate Merah's loneliness and emotional struggles. However, I believe the production would become even stronger with a more focused narrative and a better balance between artistic experimentation and audience accessibility. Simplifying the sequence involving the soldiers and the scientist would help create a clearer emotional journey, while slightly reducing the intensity of certain lighting and sound effects would make the performance more suitable for younger audiences. These adjustments would not diminish the production's artistic identity; instead, they would allow its central message of love, loss, and resilience to reach the audience more clearly and leave a deeper emotional impact.

    Ultimately, Imagina is an ambitious production that explores themes of loneliness, grief, and the impact of technology on human relationships. Its creative visual design and minimalist scenography leave a strong impression, demonstrating the production team's willingness to experiment with contemporary theatrical forms. However, its artistic ambition is sometimes weakened by an uneven narrative structure and moments of overwhelming sensory intensity, particularly for its intended audience of children. With a clearer storyline and a more balanced use of technical elements, Imagina has the potential to communicate its message more effectively while preserving its unique artistic identity. Overall, it is a thought-provoking production that encourages audiences to reflect on connection, loss, and resilience, while also highlighting the importance of balancing artistic innovation with audience engagement.

#Aswara

#Theatrekanak-kanak

#sukarasa.prod

SASHA MAISARA: NYALA PIJAR HIROSHIMA

Pementasan Nyala Pijar Hiroshima yang dipentaskan di MPAJ, Kuala Lumpur pada 12 Jun hingga 14 Jun 2026 ini merupakan sebuah naskah yang berani dalam mengangkat sisa-sisa trauma sejarah dan kemanusiaan.  Dari sudut pandang estetika persembahan, ruang pentas diatur secara minimalis, memberikan tumpuan sepenuhnya kepada susuk tubuh pelakon yang menggalas tanggungjawab menyampaikan naratif. Dari aspek reka bentuk set, produksi Born 2 Bee memilih pendekatan minimalis yang sangat kemas dan bersih. Ruang pentas yang tidak sarat dengan prop lantas memberikan satu bentuk kepuasan visual sebaik sahaja saya masuk ke auditorium. Di tengah-tengah ruang yang ringkas ini, naratif digerakkan melalui struktur monolog yang panjang oleh watak utama iaitu Hilal, Robin, dan Malik. Garis cerita yang ditonjolkan sememangnya memiliki kekuatan teks yang utuh, sarat dengan mesej kemanusiaan dan sejarah yang mendalam. Walau bagaimanapun, dinamika estetika ini mengalami anjakan drastik pada babak klimaks pementasan apabila produksi mengintegrasikan kesan lampu berkelip yang agresif dan berpanjangan, mengubah atmosfera panggung secara menyeluruh.

Sebagai pelajar yang harus mengkritik, saya mengambil posisi yang mengkritik dan mencabar beberapa pilihan estetik produksi, terutamanya apabila menilai keberkesanan reka bentuk persembahan ini melalui lensa Teori Teater Epik Bertolt Brecht. Bertolt Brecht memperkenalkan konsep Verfremdungseffekt (kesan pengasingan) yang bertujuan untuk menghalang penonton daripada hanyut dalam ilusi emosi, sekali gus merangsang minda yang analitikal. Keindahan set yang ringkas pada awal pementasan sebenarnya berjaya memenuhi fungsi estetika ini dengan membiarkan penonton fokus kepada idea, bukannya hiasan latar.

Namun, kegagalan estetik mula kelihatan apabila pengarah memilih bentuk monolog meleret sebagai wahana tunggal. Monolog yang tidak disulami dengan variasi pergerakan atau gubahan tempo yang dinamik akhirnya mewujudkan kebosanan estetika, dari pandangan saya. Ini mencetuskan pemikiran kritis seperti yang dihasratkan oleh Bertolt Brecht, bentuk monolog yang statik ini meletakkan penonton dalam fasa pasif yang menjemukan, di mana keindahan visual set minimalis tadi tidak lagi mampu menampung kelompangan aksi di atas pentas.

Interpretasi terhadap babak klimaks persembahan ini memunculkan polarisasi yang ketara antara niat artistik pengarah dan realiti penerimaan penonton. Penggunaan kesan lampu berkelip yang berpanjangan ditafsirkan sebagai usaha simbolik untuk menterjemahkan impak trauma, letupan, dan kekacauan psikologi mangsa Hiroshima. Manifestasi kegelapan sejarah ini cuba diwujudkan secara fizikal di dalam panggung.

Walau bagaimanapun, manipulasi sensorik ini telah melangkaui sempadan estetika teater dan mencetuskan ketidakselesaan penonton. Implikasi cahaya yang terlalu lama bukan sahaja memecahkan ilusi, malah mencetuskan gangguan fizikal yang nyata. Berdasarkan pemerhatian saya di dalam teater ini, sebahagian besar penonton mula mengalihkan pandangan, menutup mata dan menunjukkan reaksi tidak selesa, malah saya sendiri mengalami sakit kepala yang mengganggu proses apresiasi seni. Dalam konteks ini, estetika kejutan yang cuba dibawa oleh produksi telah gagal kerana ketidakselesaan fizikal yang keterlaluan telah memutuskan terus hubungan intelektual dan emosi antara penonton dan persembahan.

Secara keseluruhannya, Nyala Pijar Hiroshima mempunyai asas estetika yang sangat berpotensi melalui reka bentuk set yang indah dan teks yang bermutu. Hubungan pementasan ini dengan konteks masyarakat semasa juga amat relevan, memandangkan komuniti global hari ini sering kali terdedah kepada trauma peperangan moden yang memerlukan refleksi kemanusiaan yang mendalam.

Namun, sebagai respons dan cadangan konstruktif kepada produksi, sebuah pementasan teater yang matang harus bijak mengimbangi antara keberanian eksperimen artistik dengan etika keselamatan penonton. Penggunaan kesan pencahayaan kinetik yang ekstrem harus dihadkan tempoh masanya agar tidak memudaratkan fizikal penonton. Selain itu, sekiranya produksi mahu mengekalkan bentuk monolog, pengarah wajar memperkayakan estetika persembahan melalui gubahan pencahayaan yang lebih puitis, kesan bunyi berlapis, atau lakonan fizikal yang lebih dinamik demi mengikis elemen kebosanan. Syabas kepada produksi Born 2 Bee atas usaha murni ini, dan diharapkan kritikan ini dapat menyumbang kepada wacana seni persembahan yang lebih inklusif dan prihatin pada masa hadapan.

#kritikansenium #nyalapijarhiroshima #born2bee

NYALA PIJAR HIROSHIMA - WAN SYAHIRA

            

             Nyala Pijar Hiroshima, directed by Roydy Rokidy and presented at the Auditorium Majlis Perbandaran Ampang Jaya from 12th June until 14th June 2026, serves as a searing interrogation of human culpability within the machinery of industrial capitalism. The production follows a non-linear narrative structure, utilizing three distinct monologues from employees Hilal, Robin, and Malik to deconstruct the catastrophic explosion of a local firecracker factory. While the performance succeeds in evoking profound empathy for the victims of the tragedy, its primary power lies in its structural engagement with Bertolt Brecht’s concept of the "alienation effect." By forcing the audience to navigate three conflicting perspectives of the same event, Rokidy prevents the viewer from settling into a singular, comfortable moral conclusion, or in this case the characters refer themselves as a third person. 

The power of Nyala Pijar Hiroshima comes from its focus on presenting facts rather than pulling the audience into a make-believe world. Using ideas from Bertolt Brecht, the three monologues work to break the idea that there is only one simple truth. Every character—Hilal, the practical manager; Robin, the earnest but shortsighted coworker; and Malik, the hopeful new team member—offers only one part of a broken puzzle. This staging turns the audience into a group of detectives judging the case. The director chose to have them rotate through their stories in fragments rather than delivering them all at once, which prevents the audience from becoming too attached to or fooled by any single person's charm or pain.

For example, look at how Robin’s story changes. When Robin speaks of his "good deeds"—distributing unstable firecrackers to children—the audience might at first feel sympathetic. However, as the stories continue, the real danger of these actions becomes clear. This way of switching perspectives is the perfect example of "alienation" in action; we are forced to look at Robin with both pity and a critical eye. The performance is not interested in creating a hero or a villain, but in showing how unreliable our judgment becomes when we are trapped inside a broken system.

The visual choices further reinforce this. The set design successfully mimics a factory, acting as a ticking time bomb. The props—carefully chosen and placed—do more than just decorate; they define the boundaries of the workers’ lives. By using a functional, detailed setup rather than a grand one, the director avoids the "spectacle" that often distracts from a play's political message. By keeping the stage uncluttered yet realistic—even showing the process of making the firecrackers—the director ensures that the audience's focus remains on the main conflict: the tension between the factory's constant danger and the desperate hopes of its employees. The actors’ physical control—avoiding aimless movement and using purposeful, grounded gestures—further emphasizes this. They are not just people talking; they are cogs in a machine trying to explain why that machine stopped working.

Beyond the immediate tragedy of the story, Nyala Pijar Hiroshima serves as a poignant mirror of modern industrial challenges in Malaysia. By setting the drama inside a firecracker factory, the production draws our attention to how unstable labor can be—specifically, the "hidden" dangers in high-risk industries that are often ignored until a catastrophe occurs. The boss, a character who never appears on stage but whose presence looms over every decision, serves as a powerful symbol for the faceless corporate entities that operate at the expense of human safety.

In today's society, this play reflects the ongoing struggle between the hopes of the working class and the cold, profit-focused logic of corporations. Malik’s character is a perfect example of this; his lifelong dream to work at the factory—driven by fond childhood memories—shows how companies often take advantage of a community’s loyalty to hide unsafe working conditions. The irony is sharp: the very items that brought Malik joy as a boy become the cause of his downfall as an adult. This story challenges the audience to question their own role in our consumer society. We buy the "firecrackers"—the products of these industries—without considering the exploitation or the lack of safety regulations that allow such businesses to exist.

Furthermore, the play explores the theme of "guilt by association." Robin’s journey—from a man who thinks he is helping to someone paralyzed by the weight of his actions—is a commentary on how individuals become pawns in a broken system. When he distributes the damaged goods, he acts out of misguided kindness, believing he is providing a service to others. The tragedy, however, is that his small, individual acts of "charity" help normalize the very danger that eventually destroys his community. This forces the audience to consider a difficult question: In a world where corporate negligence is common, can an individual ever truly be "innocent"?

The "strobe light" incident, while technically problematic, can also be viewed through this same lens. If the goal was to simulate the blinding, chaotic moment of an explosion, it serves as a metaphor for the abrupt, violent end that comes to those trapped in dangerous jobs. However, because it caused physical discomfort rather than intellectual clarity, it emphasizes the play’s broader critique: the system itself is painful and jarring to confront. Additionally, there were moments when the spotlight cues arrived slightly late during the monologues. While the rest of the stage remained lit, this brief delay—leaving a character partially unlit for a few seconds—unintentionally mirrored the lack of transparency in real-world corporate management. The audience was left to briefly wonder where to look, much like the employees who were kept in the dark regarding the dangerous activities happening beneath their feet. In this way, the production succeeded in making the audience feel the disorientation of being a worker in a system that does not value their life.

Nyala Pijar Hiroshima succeeds in its primary objective: it transforms a localized industrial tragedy into a universal meditation on the erosion of ethics in the workplace. Through its three-part narrative structure, the production effectively forces the audience to confront the complex layers of guilt that exist in any catastrophe. The director, Roydy Rokidy, has crafted a piece that resonates deeply with the current state of industrial affairs in Malaysia, reminding us that "accidents" are rarely truly accidental, but rather the result of systemic neglect.

However, a review must also address where the production ambitions outpaced its execution. While the emotional intensity of the acting was clear, the technical side occasionally faltered, creating a disconnect between the performance's heart and its mechanics. The inconsistent spotlight cues and the excessive reliance on strobe effects did more than just distract; they weakened the very "alienation" the production sought to achieve. When the audience is physically distracted by a lighting error or uncomfortable strobing, they are pulled out of the critical headspace needed to evaluate the play’s deeper political and social themes.

Ultimately, Nyala Pijar Hiroshima is a vital addition to the local performing arts landscape. It asks difficult questions of its audience: Who is responsible when profit motives destroy lives? How do we hold invisible powers, like the bosses of the world, accountable for the debris they leave behind? Despite some technical imperfections, the production’s ability to evoke genuine empathy while prompting deep, critical reflection is a testament to the power of theatre as a tool for social inquiry. It is a production that demands to be seen—and more importantly, it is a production that demands we continue the conversation long after the final light fades.

#born2beeproduction #teatermalaysia