The Dinasti Theatre reemerged with critics and contemplation and the little touch of humor
Dozens of people wearing red outfit wrapped themselves with gunny cloth on the stage. They formed a circle and were constantly pulling at each other. Their voice weird and unclear. At the front side of the stage. Joko kamto, Dressed as smarabhumi (the Devil) swung his whip which lashed with a loud sound. He has heppy and proud of owning so many “pets” and having power over tapel.
Tapel is a lomp of body who lives only by his instincts. His conscience and wit have been removed his body. To the devil, it was a significant condition because it was the strting point of his resurrection.
That is one of the scene depicting the power of the devil over tapel, performed by the dinasty Theatre. This theatre was born in 1977 in Yogyakarta and represented the art as a medium for social critics. After being absent for a long while, they are back with stories which distorted the general definition of the Devil’s own.
Cleverly the theatre criticized on the acts of corruption, regional leader election, members of the parliament, the leadership, instantism, greed, hedonism, and the lust for oppression that have taken over the elite regime. Never theless, despite its serious message, there were hints of humor between the lines.
In this story. The devil was given the clance to argue over his actions. “I don’t want to be the black sheep. I don’t need power. I don’t need wealth. So why would I do corruptive acts?” said the Devil.
The devil wouldn’t accept of being accused as the source pf the world’s greed and corruption. It was men who worshipped murder, vandalism, corruption and other unruly behaviours.
Ever since men were created, the devil never believes thay can be the master of the world. Their lives are centered on three activities: being greedy, harming the earth and murdering each other. However, for centuries men have been denying their own responsibility by accusing the Devil as the source of all damages done.
The there maules of the heavens, Maula Hajarala (played by Fajar Suharno), Maula Hasarapala (Bambang Sosiawan), and Maula Jabarala (Tertib Suratmo) have been worriedly observing the humans who were slowly transforming into tapels.
Other sarcastic remark includes the transformation phase of the garuda bird syimbol into a finch. The character of Prawito (played by Novi Budianto) had proudly said that the garuda was able to travel across the continents, but is now replaced with a small and helpless finch that was put into a cage. A caged bird is the symbolof lack of creativity, helplessness and lack of courage. It lives only by depending on food and drink given at the mercy of its owner. This is the symbol of the fall of a great nation into a small and poor collection of people.
The stage lighting and background changes according to the story. The screen also served stage which made the story lovelier. For instance, the scene where Jemek Supardi (playing as one of the tapel), who was initailly naïve, changed into a man with a business suit and neat tie who always think about money, and the screen showed his mouth opening wide and swallowing an American dollar.
The in-playmusic arrangements by Bobiet Santoso completed the series of naughty and fresh plays. The Dinasty theatre has animated our mind and sducated the public to be more aware of the social issues around us.
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