yang duk meng’google’ review bilik ahmad berdaki tu rupanya trilogi komedi yang baru saja dipentaskan di KLPac. nasib baik siti yang beritahu semalam. terus je saya cari info nya. nasib baik tak sambung gelakkan si ahmad yang berdaki ni, ada pulak nanti saya kena saman dengan pengarahnya;p mintak maap ye tuan pengarah (macamlah dia baca blog saya ni)

Title : Bilik Ahmad Berdaki

Venue : KLPac – Pentas 2
Sentul Park, Jalan Strachan (off Jalan Ipoh)
Kuala Lumpur,Wilayah Persekutuan

Date & Time : Preview show, Nov 4th, 8.30pm. Evening shows, Nov 5th to 7th, 8.30pm. Matinee shows, Nov 7th and 8th, 3pm. (semuanya dah terlepas)

Synopsis :


Effendy steers this black comedy with admirable stealth. It flicks with ease from sheer hilarity to chilling malice. – Tara Tan, LIFE! Theatre Review

…a uniquely provocative and fascinating play, by turns humorous, disturbing and challenging. – Jabir Mohd Yusoff, inkpot.com

…a playfully absurd comedy beautifully executed … skirted tantalizingly on the edge of great profundity without ever quite stepping onto the line. -Kenneth Kwok, inkpot.com

Dark, Darker, Darkest. After rave reviews for 2008’s Bilik Ahmad, Noor Effendy Ibrahim returns with the final instalment. Bilik Ahmad Berdaki completes the trilogy of short black comedies exploring the dynamics and complexities of trust and betrayal (Bilik), of gender
and sexual politics (Ahmad), and of hunger and ownership (Berdaki).

This will present one complete experience, where the characters and the realities of the three plays
intertwine into one romp of manic and violent celebration.

In Bilik (Room), meet a clan of battle-hardened cannibals that is challenged by the introduction of emotional love. Ahmad reveals a family of banana-eating men coming to terms with their homoerotic existence as a female neighbour introduces them to the pleasures of sugared bananas. Berdaki tells of three women tormented by the constant need to satisfy their carnal needs and their guilt over their preying.

The triple bill addresses and examines the notion of domesticity and its supposed sense of security and familiarity, appropriating household items and spaces into kinetic machines to induce a sense of the inherent and latent forbidden desires in the person that
manipulates them.

At the core of each of the three plays is the examination of how the marginalized or the outcast defines itself in relation to what is permissable or acceptable in the society and community it finds itself in. In this process of defining itself, the survival instinct creates its own set of conduct and behaviour – separate but not unlike that of society’s. This is thus a project of reclamation; to reposition itself within the psyche of the society that created it in the first place.

[source: kakiseni]

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