Teater Wangi Jadi Saksi: Satu Bacaan Semula terhadap Sejarah Setia Kawan Tuah-Jebat
Authors:   Universiti Sains Malaysia, Malaysia, Wan Teh Wan Hasmah 
Published: May 2021

Kisah Hang Tuah dan Hang Jebat dalam teks klasik Sulalat al-Salatin dan Hikayat Hang Tuah telah menjadi ilham kepada pembuat filem, teater dan pencipta lagu. Filem pertama yang menonjolkan Tuah-Jebat secara audio visual bertajuk Hang Tuah ditayangkan pada tahun 1956 di bawah arahan Phani Majumdar, kemudiannya diikuti oleh filem bertajuk Hang Jebat oleh Hussein Hanif pada tahun 1961. Biarpun dua filem ini adalah antara adaptasi terawal yang menghidupkan watak Tuah-Jebat di layar perak, namun sudah terkesan terdapat kecenderungan tertentu ketika memfilemkannya. Kedua-dua watak ini tampil dengan bacaan dan interpretasi yang berbeza oleh kedua- dua pengarah filem terdahulu. Hal ini tidak dapat dielakkan untuk sebuah filem, drama mahupun teater adaptasi. Tafsiran atau interpretasi semula ialah bahan kreatif seseorang pengarah ketika melakukan adaptasi. Menerusi teater arahan dan skrip oleh U-Wei Haji Saari, kita sekali lagi diingatkan tentang kisah setia kawan Tuah-Jebat dalam Wangi Jadi Saksi . Wangi ditampilkan sebagai saksi mata dan penyimpan rahsia kepada peristiwa pertikaman dua sahabat yang menjadi legenda dalam masyarakat Melayu. Makalah ini akan menjelaskan makna adaptasi dan kesesuaian interpretasi dan bacaan semula U-Wei terhadap kisah pertikaman tersebut melalui watak Wangi dengan memanfaatkan kerangka teori intertekstualiti. Makalah ini mendapati, dalam usaha U-Wei memberikan tafsiran terhadap peristiwa pertikaman Tuah-Jebat, beliau sebenarnya telah mencipta satu teks baharu dengan meruntuhkan kenyataan yang sudah diterima masyarakat berabad-abad lamanya. Kata kunci: Hang Tuah, Hang Jebat, U-Wei, adaptasi, interpretasi semula Abstract The story of Hang Tuah and Hang Jebat in the classical texts Sulalat al-Salatin and Hikayat Hang Tuah has been a source of inspiration to filmmakers, theatre directors and songwriters. The first audio-visual film that projected the solidarity of Tuah-Jebat in 1956 was titled Hang Tuah under the direction of Phani Majumbar. This was then followed by the film Hang Jebat directed by Hussein Hanif in 1961. Although these two films were among the earliest adaptations that resurrected the characters of Tuah-Jebat on the big screen, however, it was evident that the films had shown certain inclinations during the filming process. This is inevitable for a film, drama or theatrical adaptation. In an adaptation, differences in reading or interpretation are a normal occurrence; they reflect a director’s personal creativity in the adaptation process. U-Wei Haji Saari reminds us of this process by bringing new light to the story of the two legendary figures through his work “Wangi Jadi Saksi”. In particular, the work features the character Wangi, who is a witness and a secret keeper to the fight between two friends, touted as legendary in Malay society. This paper aims to explain the concept of adaptation and the relevant interpretation in U-Wei Haji Saari’s rereading of the stabbing incident through the character of Wangi guided by an intertextual framework. It argues that U-Wei Saari, in his re- interpretation of the stabbing between Tuah and Jebat, has actually created a new text, which challenges views regarding the relationship between Tuah and Jebat which has been accepted by society for many centuries. Keywords: Hang Tuah, Hang Jebat, U-Wei, adaptation, re-interpretation