The Trial of Hang Tuah the Great, a prize-winning play, uses an
ancient story of the Malay hero, Hang Tuah, to re-examine of some
of the issues connected with identity prevailing in Malaysian
society over the past fifty years or so since the independence of
Malaya and the establishment of Malaysia. It is an imaginative
retelling of the story of Hang Tuah, associated with the Melaka
Sultanate of the fifteenth century who, myth and legend maintains,
never died, while historians, time and again questioning Hang
Tuah's very existence, have recently declared that such a figure
never actually existed. The Trial of Hang Tuah the Great takes both
these theories into consideration and through them, examines the
traditional idea of a hero in the Malay psyche, linking him
symbolically to certain individuals, such as Maharaja Lela, and a
spectrum of events, mythical, legendary and historical, based on
the hypothetical question of who Hang Tuah would have been if he
had lived beyond 15th century Melaka right up to our own times and
even beyond the present until the year 2020. The play's text is a
powerful and stunning confrontation of myth in the manner of
Grotowski (Poor Theatre). In terms of staging, as envisioned by its
author, The Trial of Hang Tuah the Great is based upon modern
western theories and techniques, such as those of Bertolt Brecht
(Epic Theatre) and Antonin Artaud (Theatre of Cruelty). In both
senses, The Trial of Hang Tuah the Great is a groundbreaking
Malaysian play.
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