The Scream of a Parentless Horse

The show is presented as muted movements to indicate the life of Kurawa and Pandawa.

Aswatama, Aswatama ………..!
Banowati, Banowati …………….!

These were the actor’s yell to account for the names of two players among the citizens of Kurawa and Pandawa expressing their life through choreography which displayed more aspects of physical exercises, karate, judo, martial art of self defense and pantomime. And furthermore, muteness. A movement parade, narrative signals of various stage events, which is completely constructed along with lighting and music. The Aswatama narrative is certainly offering as strong conflicting story. The one and only son of a fairy, Dewi Wilutama named Duma, he is in the possession of high supernatural powers. He was predicted not to die during the Baratayudha war. He was just outlined taking revenge for the death of his father who was defeated by Pandawa.

And in that episode displayed as “Raung Kuda Piatu” at the “Teater Kecil” (Small Theatre),he was also the one that later on killed Banowati, one of Arjuna’s woman. Banowati was told of leading a two mode of living at the same time. On one side, she is the wife of Suyudana, the King of Kurawa. On the other side, she is also in fact the sweetheart of Pandawa,s Don Juan, Arjuna. From the beginning Aswatama has already reminded his King, that his beloved wife is actually betraying him, by doing so to disclose Kuarawa’s secret to Arjuna. However, instead of listening to Aswatama. The King believed more to his wife.

As a consequence, the people of Pandawa have acquired all Kurawa’s weaknesses and successfully defeated him.

But the murder of Banowati executed by Aswatama eventually leads to a lot of story interpretation. Among others, what became the content of “Raung Kuda Piatu”, namely Aswatama’s deep longing for Banowati, who has never put even any attention up to a small amount for him, Meanwhile, each time when looking at Banowati. Aswatama has never concealed his feeling of admiration and sexual desires for her. Ags Arya Dipayana - intentionally put a thick line towards interpretation like this. On stage, through physical exercise, dance, pantomime, and martial art of self defense, he presented a sexual intercourse scene up to five times. At the end, of course there is a scene of forced sexual intercourse conducted by Aswatama and Banowati.

However, when Aswatama happened to show his sexual desires – exploding along with resentment, by tearing up Banowati’s mouth – that sort of emotion seemed to be excossive. Probably, Aswatama’s psychological deep yearning would be more leaving a trace – channeled through a soft and symbolic dance sway.