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Datang dan “Hilang” di Gedung Societet TBY

Aksi salah satu aktor pementasan Teater 42 berjudul "Kembalikan Indonesia Padaku" pada 2012. Selasa (10/11) malam ini, Teater 42 akan menggelar pentas berjudul "Hilang" karya Ilham Gabriall. (FOTO: DOK. TEATER 42)

TEATER 42 akan menggelar pementasan lakon berjudul “Hilang” di Gedung Societet Taman Budaya Yogyakarta (TBY) pada hari ini, Selasa (10/11). Pentas dimulai pukul 19.00 WIB. Ini pentas produksi akhir tahun bagi Teater 42, sebuah kelompok teater yang berdiri sejak tahun 1997.Kelompok teater ini secara rutin menyelenggarakan pementasan teater di Yogyakarta dan beberapa kota lain. Di sebuah siang yang panas, Rabu (4/11),di kantor Literasi Press, Dwicipta dari Literasi.co berkesempatan untuk berbincang dengan sutradara naskah “Hilang”, Ilham Gabriall. Berikut ini petikan wawancara tersebut.

Beberapa waktu lalu saya mendengar Teater 42 sedang menyiapkan produksi akhir tahun. Lakon apa yang akan dipentaskan sebagai produksi akhir tahun dari Teater 42?

Benar, kami memang sedang menyiapkan produksi pementasan akhir tahun, dengan menggunakan naskah lakon terbaru saya, “Hilang”.

Apa yang melatarbelakangi pementasan lakon“Hilang” sebagai produksi pementasan akhir tahun dari Teater 42?

Saya akan menjawab dari sisi saya sebagai penulis naskah. Ketika saya melihat, merasakan, dan membayangkan sesuatu, terutama terkait kejadian-kejadian belakangan ini,saya seperti kehilangan sesuatu dalam diri saya. Saya merasa, realitas kebobrokan di dunia politik yang karut-marut, pengelolaan negara yang kacau-balau, bencana kabut asap, persoalan yang lahir dari perbedaan warna kulit atau ras dan agama, hanya lapis permukaan dari persoalan kita. Dibalik semua itu, ada persoalan lain yang saya tangkap: hilangnya rasa kemanusiaan. Ketika saya membaca dan menonton video Rohingya, tentang pembakaran orang-orang Rohingya, saya merasa iba, sedih, dan tergerak agar orang lain merasakan hal yang sama ketika saya menonton video itu dan membaca persoalan di Indonesia pada umumnya.

Ada dua pilihan dalam menyikapi fenomena dan realitas yang mengguncang Anda, yaitu memilih naskah yang sesuai atau membikin naskah baru. Kenapa Anda memutuskan untuk membikin naskah baru?

Saya memutuskan membuat naskah baru karena, selain bermain teater, saya juga menulis. Saya ingin lebih bebas dalam menyampaikan kegelisahan saya. Karena ini bermain rasa, agar bisa sampai pada realitas yang ada di hadapan saya, saya kira cara terbaik untuk menangkap kebaruan itu adalah dengan menuliskannya. Kalau saya memilih naskah orang lain, naskah itu terikat pada konteks zaman tertentu di masa lalu. Bisa saja itu disesuaikan dengan masa sekarang. Tetapi, saya tidak mengambil pilihan itu karena saya berpikir hal itu tidak menyentuh kedalaman emosi saya.Ada yang lain: saya tidak ingin mengikuti konvensi naskah drama berkenaan dengan plot dan adanya klimaks. Di dalam naskah saya, tidak ada tokoh utama, tidak ada alur yang jelas, tidak ada klimaks cerita. Itulah alasan kenapa saya menuliskan sendiri naskah ini.

Kenapa menggunakan judul “Hilang?

Judul dalam naskah ini sudah diganti dua kali. Pertama judulnya “Kematian”. Waktu itu saya kesulitan memilih judul. Saya meminta seorang teman untuk membaca naskah ini secara keseluruhan—dan ia kemudian berkomentar bahwa seluruh naskah ini secara esensial berbicara tentang kehilangan. Saya kemudian berefleksi dengan hilangnya Wiji Thukul, hilangnya perbedaan karena obsesi sebagian besar masyarakat pada keseragaman, dan lain-lain. Akhirnya, saya menerima usul teman saya untuk mengganti judul naskah ini dengan “Hilang”. Saya mulai menggarap naskah ini sejak awal Juli secara maraton selama enam belas hari. Saya kemudian merevisinya sampai empat bulan sebelum naskah ini tak saya ubah sama sekali. Saya memutuskan untuk menyutradari sendiri naskah saya.

Secara spesifik naskah ini bercerita tentang apa?

Naskah ini bercerita tentang tujuh orang yang disekap secara sengaja di dalam gua agar mereka mati perlahan-lahan. Tidak ada jalan keluar bagi ketujuh orang ini. Hanya ada sedikit lubang yang secara simbolik menjadi harapan pembebasan bagi manusia. Ketujuh orang itu memiliki karakter berbeda-beda. Ketika berada di dalam gua, karakter yang berbeda-beda itu keluar dan menciptakan konflik di antara mereka. Saya menggambarkan proses ketika mereka hidup di dalam gua. Mereka menyelesaikan konflik atau problem di antara mereka dengan cara mereka sendiri. Dan di akhir cerita, nanti silakan dilihat, apakah mereka bisa keluar dari gua itu atau tidak. Saya tidak akan menceritakannya di sini. Poin saya, cerita yang disuguhkan dalam naskah yang dipentaskan ini terjadidimana-mana. Bahkan dalam diri seorang manusia, di dalam hati atau benaknya, seperti ada dua atau lebih pihak yang saling bertikai untuk mengukuhkan dirinya sendiri. Dalam konteks naskah “Hilang”, yang hilang adalah hati nurani, kasih sayang, dan nilai-nilai kemanusiaan.

Berapa lama Anda menyiapkan pementasan ini?

Persiapan pementasan berlangsung selama tiga bulan.

Apa kesulitan-kesulitan yang Anda hadapi dalam mempersiapkan pementasan naskah “Hilang” ini?

Kesulitan pertama tentu saja mengorganisir pemain dan tim yang membantu pementasan. Ini berhubungan dengan cara memberi pengertian kepada seluruh tim dalam menafsirkan cerita yang ada dalam naskah ini. Misalnya, bagaimana aktor-aktor saya menafsirkan rasa sakit dari pengalaman saya berinteraksi dengan lingkungan yang membentuk naskah itu. Yang kedua, kesulitan mendapatkan pembiayaan produksi. Dari sekian sponsor yang kami hubungi, hanya satu-dua yang berkomitmen dalam membantu membiayai pementasan ini. Kami mengatasi kesulitan dalam pebiayaan pementasan dengan membuat bazar buku, menjual baju bekas, bernegosiasi dengan pihak pemilik gedung untuk menurunkan biaya sewa, dan sebagainya. Karena di TBY tidak boleh menjual tiket langsung, kami menyiasati pembiayaan ini dengan menjual tiket sebelum pementasan sebagai bentuk kontribusi mereka terhadap pementasan lakon ini.

Apa yang Anda harapkan dari pementasan ini? Saya berharap, saya sendiri, aktor dan seluruh tim, serta para penonton mendapatkan sesuatu yang lebih baik dalam hal menghadapi konflik atau persoalan. Karena lakon ini juga berfungsi sebagai sindiran atas hilangnya rasa kasih sayang, iba, dan lenyapnya nilai-nilai kemanusiaan, makaharapan saya setelah pementasan ini ialah adanya semangat dari publik untuk menumbuhkan kembali hal-hal penting yang menghidupkan rasa kemanusiaan kita. Sementara dalam hal penyutradaraan, saya berharap bisa mewarnai dunia teater dengan warna berbeda. Secara pribadi, sebagai sutradara, ini cara saya memperkaya pengalaman dalam menyutradarai sebuah pementasan lakon. Saya harus terus berkembang sebagai sutradara.

Pertanyaan lebih umum, sejauh yang Anda tahu, bagaimana Anda melihat perkembangan dunia teater di Yogyakarta sejauh ini?

Dunia teater di Yogyakarta kebanyakan menyukai hal-hal berbau komedi. Bahkan, dalam naskah yang fokus tentang kesakitan, mereka lebih menyukai selera penonton, yang biasanya menyukai hal-hal yang berbau komedi. Yogyakarta sekarang juga mengalami stagnasi dalam dunia teater, terutama dalam hal kemunculan orang-orang baru di dunia teater. Kita menyebutnya sebagai persoalan regenerasi.

Apa yang ada dalam pikiran Anda untuk lebih mengakrabkan teater ke masyarakat luas, terutama di kalangan mahasiswa di Yogyakarta dan masyarakat umum, misalnya supaya regenerasi itu sendiri bisa jalan?

Terus berproses dan mengajak berbagai pihak untuk mengapresiasi teater. Juga memperkenalkan perkembangan-perkembangan dan membuat kursus-kursus teater, baik ke anak-anak maupun sekolah-sekolah. Jangan lupa juga untuk membangun komunikasi yang baik.

Kenapa memilih gedung TBY yang bagus daripada pentas di kampus atau di tengah-tengah masyarakat?

Saya memilih gedung TBY yang bagus agar, ketika penonton duduk di kursi gedung teater TBY yang empuk itu, mereka kemudian merasakan kesakitan, suatu rasa kehilangan yang sifatnya kontras dengan keempukan dan kenyamanan ruang di dalam gedung teater. []

Catatan redaksi: Judul artikel ini sebelumnya menggunakan ejaan “Societed”. Kami melakukan revisi menjadi ” Societet”, sesuai dengan ejaan resmi yang dipakai oleh pihak Taman Budaya Yogyakarta.”

Dwi Cipta
Dwi Cipta
Penulis cerita dan esai. Belajar menulis dan menerjemah secara otodidak. Kini sedang belajar di dunia penerbitan dengan ikut mendirikan dan menakhodai Literasi Press.

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