2011, Proposed design for "Harga Sebuah Maruah", Dewan Budaya Tun Syed Nasir, Dewan Bahasa & Pustaka KL. Directed by Halimi Mohamed Noh, scripted by Wahab Hamzah with art direction and video design by yours truly (me!). Based on a novel by the late Azizi Hj Abdullah. Roslan Chin is the technical and lighting designer. This is the second draft proposal. The design was later altered a bit to fit the need to put more performers on stage. Basically it is based on a combination of a triangular shape (women, female, mother, motherland, bearer, container, field, emotion, intuition, the past, giver) and a linear/straight square shape (man, male, father, sower, taker, thinking, logic, the present and the future, greed). The story is basically based on a clash between these two elements.

Plan view. The triangle shaped stage also connotes a clash between 3 sides with different agendas (tiga penjuru). The stage here is the witness of such clash, as implied by the script.

Plan and perspective. The main triangular stage was then altered to become a full stage with the paddy field part extended on both of its wings.

Video wall.

Before the installation and set up.

Synchronizing the colors. Different brands projectors behave differently.

Testing and setting up the projection system.
Using mirrors to reflect and enlarge the video.

Testing the panoramic video wall.
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Installation of the main set and video projection system.
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Rosli, Adi and Izrul working on the additional section for the 'sawah sekangkang kera' (small paddy field)
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Artists at work. Would be my 'installation' if I declare this my 'artwork'. But there is no place for 'contemporary artist' ego trip in a collaborative theater production.
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Husni putting final touch on the 'batas', while Sham and Adi look like Bangla carrying the heavy sack of soil, sand and granite stones.
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Artist at work, this time the floor of Dewan Budaya Tun Syed Naser DBP is my canvas.
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Izrul and Sham making the 'batas'.
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Interpreting broken or fragmented land and uprooted roots by painting the main stage while Halimi (the Director) and Norhelmi (main actor) watching.
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Painting the 'cracking land' (tanah menanti retak) that functions as the main stage. The script is littered with people quarreling and breaking up, uprooting their roots at the same time. Lan Chin on the far left is having problem with his light.
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Painting the main stage, have to think in 2 color system - light and pigment colors.
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"Sawah sekangkang kera" (small paddy field, in a triangular shape, as for the main stage too) with a straight 'batas'.
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Some props with the video projection, partly realism, partly symbolism, partly minimalism (suggestive set).
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Wacky Andy, another team member, enjoying his refreshment break. — with Anderson Ee.
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External, in front of surau. Day.
 

Opening setting
 

Main stage after Roslan Chin's touch.

Mamu as Hijrah, confronting the invading tractor.
 

Hijrah and Bibah in front of Pak Kassim's house.
 

Balairaya. See the light rays on the floor as if coming from the windows.
 

Virtual and physical.
 

One of the best scenes, escalating conflict between two sides.
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When your inherited land is taken away, what will you do?
Power to the people!
 

Is this the answer to all conflicts?
Must everything ends this way?
 

"Mana maruah kita?"...Cah in her final monologue. Roslan Chin's lighting....phuhhh.
 

A working set with minimum cost. — with Ramnah Ramli.
 

TC Liew's documentation photo from his front seat as an audience during the 2nd round performance in USM Penang (after DBP KL). TC was responsible in bringing me to Padang Benggali to feel the vibe of sawah whilst taking some good pictures. The pictures were used as a part of the video projection and design of the set. TC was brought up in Padang Benggali. Thank u TC.
 

TC Liew's documentation photo. Some says the set looks even better in USM compared to in DBP.
 

TC Liew's documentation photo.