baca skrip: #HantaranBuatMangsaLupa
baca skrip: #_____ is a monthly series of online Malay play readings happening from May to August 2020. Putting the spotlight on the written text, the platform revisits seminal works by Singapore Malay playwrights. This series hopes to create the space to consider the resonance of the text today, appreciating the textures in the use of the Malay language while peeping into the history of contemporary Malay playwriting.
From re-discovering the familiar and being surprised by the new, we invite you to re-acquaint yourselves with the characters’ confrontations with reality -- which is, in more than one way, our own.
Co-produced by Fezhah Maznan and Teater Ekamatra.
Read in Malay with accompanying Malay text and English sur-titles.
The first edition of baca skrip: #___ features Irfan Kasban with his trilogy, Hantaran Buat Mangsa Lupa.
Created between 2007-2012, this collection of plays marked Irfan’s professional debut as a triple threat - playwright, director and production designer. The works explore Islamic motifs of desire, struggle and loss through a language that is introspective and lyrical. The texts demonstrate a style of imagining Islam that has become characteristic of Irfan’s work, and we can already see here the birth of his distinct treatment of characters that exist in between our reality and an Islamic archetypal universe.
As it is important to the canon of contemporary Malay theatricalities, this trilogy is also pivotal to Irfan’s artistic trajectory. Indeed, his experimental treatment of Islamic philosophy in these plays would go on to become a mark of his multi-disciplinary output.
Hantaran Buat Mangsa Lupa
Hantaran Buat Mangsa Lupa (Offerings for the Victims of Amnesia) is a trilogy of plays inspired by the three main events leading to the establishment of Islam. Paired with the severely poetic nature of the Malay language, Hantaran offers a dimension that faith excludes and/or questions.
Read by Shida Mahadi and Izzul Irfan
From Hadith no. 4, the Messenger of Allah (peace be upon him), told us that it takes 40 days for a sperm and egg to become a drop of blood, then a chunk of meat, and then its roh (soul) to be blown into it by an angel on the last day. Along with its roh, four other decrees will also be written onto it; takdir, rezeki, iman and ajal (fate, sustenance, faith and finiteness).
Hawa, who is pregnant, receives a premonition that she will meet Malaikat (angel) on the 39th day, where she hopes to enquire about the fate of her child, and herself; revealing her true desire to challenging predestination.
Read by Misha'al Syed Nasar and KayKay Nizam
Two men in a toilet cubicle.
They talk, but not a lot.
They touch, but not too much.
Only the four walls bear witness to their dispositions.
They struggle to find comfort and space.
A woman looms outside, shifting the gravity of their proximity.
The two men are now trapped in the cubicle.
W.C, was created to examine the complexities between men - abandonment, trust, and maybe even love. Performed in an intimate setting with sparse text, the audience is cornered to read between the lines and decipher the relationship between these two characters.
W.C. speaks of comfort and sacrifice, or lack thereof.
Read by Fir Rahman
94:05, invites the audience to the life and memories of Ahmad bin Abdullah. As he tidies his studio apartment, Ahmad finds it hard not to reminisce. He shares with us every important juncture he has passed through, slowly revealing his struggles with fate. Every now and then he contemplates mortality, especially in moments when hope becomes fleeting.
Ahmad tells stories of the Prophet Muhammad from memory, in an attempt to ease himself, and maybe, to find a reason to live. He recites Surah 94 – Relief, fixated on the promise in fifth line;
“So, verily, with every difficulty, there is relief”.
For more information on previous stagings of the works, please visit: https://irfankasban.wordpress.com/tag/hantaran-buat-mangsa-lupa/
Through writing, directing, designing and performing, Irfan Kasban hopes to create intricate works as a way to make sense of his time in this universe. A freelance professional since 2006, Irfan’s curiosity has guided his artistic trajectory, in various mediums and disciplines. He is captivated by our daily struggle to find peace, which has spanned across time and space
Irfan is an Associate Artist with Teater Ekamatra since 2011, and was an Associate Artist with The Theatre Practice in 2019. Currently he is interested in performance as ritual healing.
Irfan’s Theatre CV can be found here.
Shida Mahadi is a Singaporean-born actress who's had an on and off love affair with theatre since 2000. Some of her more notable works are Causeway (SIFA 2002), Nadirah (2009&2011), Kkenang: A Monologue (Project Suitcase 2008, Cairo International Festival of Performing Arts 2009).
In 2010, she packed her bags and crossed the border into Malaysia for a boy (Awww......) and has been there since.
Her yearning for the stage is satisfied with the occasional projects back in the Motherland, her most recent one being #istillwantmypr as part of Project Suitcase 2016 and Ipoh Causeway Exchange 2017.
Izzul Irfan is a freelance actor, playwright, and director. His acting credits include Without Reason (M1 Peer Pleasure Festival 2017); Angkat (M1 Fringe Festival 2019) and A Clockwork Orange (Teater Ekamatra 2019), both directed by Noor Effendy Ibrahim, and Anything Can Happen / Something Must Happen (Young & W!ld 2019) directed by Edith Podesta He wrote his first play, Sampan in 2016 and he has since written an original musical, Runaway in 2018. He is currently the Creative Director of The Runaway Company, a youth theatre group dedicated to telling stories through the integration of music and theatre. His directing works with The Runaway Company include a jukebox musical Void Deck (2019) and a music theatre production, Wilderness (2019).
Mish’aal Syed Nasar
Currently working with the The Observatory, Mish’aal is an arts manager whose experience includes Festival Coordinator and Project Manager for The Necessary Stage (TNS). He was also the Education Outreach Manager and Venue Manager with The Substation over a 6-year period, where he worked on a multitude of programmes. Beyond being an arts manager, Mish'aal is also a theatre practitioner. He was part of the cast that received Best Ensemble at the Straits Times Life Theatre Awards for Bilik Ahmad (2010).
Khairulnizam or more affectionately known as Kaykay Nizam began as a street dancer in Fantastic Four Crew, the largest dance crew in Singapore and now a member in the alumnus group, Fantastic All Stars.
Kaykay graduated from the BA in Theatre Arts (Acting) programme from NAFA(Nanyang Academy of Fine Arts). He has performed with renowned Singaporean production companies such as The Kaizen M.D , Main Tulis Group, Toy Factory Productions and Akulah Bimbo Sakti. Kaykay Nizam's recently performed in Separa Dewa by Farhanah Diyanah, where he collaborated as an actor and visual media artist.
FIR RAHMAN, an accomplished actor whose work has reached the Cannes Film Festival through the highly acclaimed film directed by Boo Junfeng – Apprentice.
Fir Rahman first made waves when he emerged as the winner of a talent search competition on Mediacorp’s Suria channel in 2002. Prior to this, he had spent many years honing his acting skills on stage with Teater Kami Ltd; and till today, he is still active in the theatre scene.
As an actor, his current greatest achievement is starring in Apprentice, the highly-acclaimed film directed by Boo Junfeng which was screened in the 2016 Cannes Film Festival. He is nominated as Best Newcomer in acting category for the 11th Asian Film Awards 2017 in Hong Kong. Fir is also a nominee for Best Actor in Lead Role (Drama Special/Anthology) for the Pesta Perdana 2017, a prestigious local award show.
His appearances on various television dramas, variety and infotainment shows on Suria, as well as Channel 5, earned him a nomination as Most Popular Male Personality on Suria’s Pesta Perdana.
Fir Rahman is also a fitness buff and a certified personal trainer.