Filmmaker uses lens of science and speculative fiction in Teater Normcore: Odisi Romansa to question meaning of being human
IN an emerging world linked to neurons and screens, increasingly disconnected from human emotions, director-writer filmmaker Ridhwan Saidi is offering a reverse look at robots imitating humans in Teater Normcore: Odisi Romansa.
The play, that started on May 8 and runs over two weekends, takes place in a time when androids inherit the debris of memory, love and time.
From within a silent server facility, Y-002 and Z-001 navigate kerinduan (longing). One is sucked into the primordial gravity of the Bima Sakti’s core, while the other embarks on a pilgrimage from a dying Earth towards a new sanctuary.
Through Odisi Romansa, he uses the lens of science fiction and speculative fiction to question the meaning of being human.
Unique experimental narratives
“My novels from 2011 were considered surreal, so that style naturally flows into my theatre work,” said Ridhwan, 42.
“I don’t necessarily view Odisi Romansa as surreal. Rather, I superimposed and juxtaposed different layers of reality, which can make the work appear abnormal. This was done to create an imaginary fictional world. In this case, a sci-fi setting requiring speculative world-building,” explained the Klang-born creative who calls Subang Jaya his “urban kampung”.
Ridhwan, co-founder of indie publishing outfit Moka Mocha Ink, which publishes contemporary fiction and theatre scripts in the Malay language, is known for exploring interdisciplinary experiments and lyrical intimacy in his film works.
“I started making short films in 2007, became a novelist in 2011, and began work in theatre since 2017.”
His debut screen feature No Love for The Young (2020), blended body movements, documentary footage and poetry, and was selected for competition at the 31st Singapore International Film Festival.
His recent film Tears in Kuala Lumpur (2025) takes its title from P. Ramlee’s Air Mata di Kuala Lumpur. In theatre, Ridhwan made a mark with Hamlet Fansuri, a piece that deconstructs William Shakespeare’s renowned work, Hamlet.
Teater Nomcore arose from staging his film scripts and books. Since 2018, it has established a reputation for its unique and experimental narratives, starting with two one-act plays in Teater Normcore: Double Bill at RAW Art Space and Stereo Genmai at KOTAK@Five Arts Centre, TTDI.
In 2019, Moka Mocha Ink staged two one-act plays at the George Town Festival.
Look beyond setting of sun
So which does he prefer, film or theatre?
“I appreciate both. Theatre is excellent for foundational work and teaches you how to attract an audience. The viewing window is small, creating a sense of urgency. In contrast, a film can be watched long after your lifetime. Theatre is about exploration and embracing liveliness, while film requires perfectionism because cinema is precise, permanent and can last forever if archived properly.”
For Odisi Romansa, Roshafiq Roslee, Lee Qi and Aliya Marissa take to the stage at the Damansara Performing Arts Centre. Ridhwan points out that the rehearsal process calls for commitment and endurance over a specific duration.
“For me, that is a minimum of three months. This is my thirteenth time producing and/or directing a full-length play, so the process isn’t overly difficult as long as you collaborate with the right people.”
Roshafiq, 29, is an experienced stage actor, enjoying his fifteenth project with Ridhwan.
“I actually started work in theatre at age nine, as my parents were in theatre too. I am the only child, and I fell in love with theatre through them,” said the Ipoh native, adding: “Hey, I come from a place which gave the world Tan Sri Michelle Yeoh!” “The appeal of this play to me is to remind us to be human, with all the doomscrolling on social media my generation loves. It’s to celebrate our human excellence, really. It asks us to see beyond the sun setting. To rethink our direction as people on this planet, Subliminally, it reminds us that this is the only planet we have, instead of reaching for other planets.”
Lee has appeared in Ridhwan’s Tears for Kuala Lumpur, while Aliya is making her stage debut in Odisi Romansa. The play also boasts four puppeteers, and a slew of technical experts.
Ridhwan has also roped in FabU, a digital technology collective, and giant puppet artiste and sculptor William Koong, as the play makes use of visual technology integrated directly with the live stage performance. “The play will balance art with technology,” the bespectacled artiste emphasises.
