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The study focuses on a performance approach by Dinsman in his “Menunggu Kata Dari Tuhan” (Waiting for the Word of God's) (2016) and “Tamu Dari Medan Perang” (Guests of the Battlefield) (2017). Both theatres are analyzed based on the “Teater Fitrah” (Theatre of Fitrah) approach which outlined six principles in theatre production from the Islamic perspective. This approach is based on the principle that the essence of human life (nature) is to submit to the Creator i.e. Allah SWT including via theatre performance. According to “Teater Fitrah” (Theatre of Fitrah) approach, theatre performance can be a manifestation of man’s submission to the Creator through its content and implementation that is appropriate in the teaching of Islam. The six principles include story ending which in favour of the protagonist who believes in God, a character who is conscious about the nature of self-submission to Allah SWT, manifesting words about the human’s soul with good intentions, manifesting the faith in Allah SWT through particular actions, containing Islamic values that foregrounded with the purpose of submission as well as preserving ethics and etiquette in theatre staging. The research data is collected through observations on live staging practices or video recording. This study also pays attention to the issues and problems discussed. Both theatres are found to have raised different issues, but are closely linked to the issues, attitudes and thoughts among Muslim society. “Menunggu Kata Dari Tuhan” (Waiting for the Word of God) presents the issues of Muslim’s obedience and response to the commands of Allah SWT and His Messenger. The issue which directly relates to the actual behaviour of a Muslim, giving the audience an example of how they should react in a situation. Meanwhile, “Tamu dari Medan Perang” (Guests of the Battlefield) discusses on jihad and Muslim’s understanding about it. In conclusion, characters and story’s ending are in line with the principles outlined by pendekatan “Teater Fitrah” (Theatre of Fitrah). In the context of directing the performances, both theatres feature a relatively small number of characters. This strategy makes easy for the director in controlling the movements and interaction between one actors to another actor, especially among female and male characters. |
