Dance and Theatre Review最新文献

{"title":"Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta","authors":"Kasidi Hadiprayitno","doi":"10.24821/dtr.v4i1.4923","DOIUrl":"https://doi.org/10.24821/dtr.v4i1.4923","url":null,"abstract":"ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei  pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis,  sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan.  Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132697820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tinular Tutur : Audio Drama Media Counter Hegemony Ruler of The New Order (Analysis of Critical Discourse)","authors":"Purwanto Lephen","doi":"10.24821/dtr.v4i1.4977","DOIUrl":"https://doi.org/10.24821/dtr.v4i1.4977","url":null,"abstract":"The heyday of the 1980-1990 audio drama created by the Sanggar Cerita and the Teater Sanggar Prativi, Jakarta, Indonesia, was an industrial production of drama initiatives synergize between drama creators, pharmaceutical companies and herbal medicine as sponsors, and private radio companies that broadcast them. The productivity of audio drama works in the New Order era reached dozens of titles; some audio drama works produced up to 720 series or 24 episodes for two years broadcast. The audio drama Tutur Tinular by S. Tidjab uses history in Java (Singasari, Kediri, Majapahit) as a source of creation. Critical Discourse Analysis used (Norman Fairclough) is used to reveal texts, practices of discourse. Between social practices were resulting in the finding that in the audio drama, Tutur Tinular contains the behaviour of kings (rulers), royal authorities (patih, warlords), warriors (good people), criminals (bad people), and persecuted people. In the power New Order era, audio drama, which was considered an entertainment media and educational history of nationalism, was a media of resistance of the New Order military rulers.  It contained the rulers' behaviour and soldiers who oppressed their people, but it never received a reprimand and a ban on the authorities until the regime subsided.Keywords: drama audio, counter-hegemony, critical discourse        ","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122038422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PERANCANGAN PERTUNJUKAN OPERA MINANGKABAU MALIN NAN KONDANG SEBAGAI ALIH WAHANA KABA MALIN KUNDANG","authors":"Edy Suisno, I. Iswandi, R. Pramutomo, Lili Suparli, N. Jamarun","doi":"10.24821/dtr.v4i1.4373","DOIUrl":"https://doi.org/10.24821/dtr.v4i1.4373","url":null,"abstract":"Perancangan Pertunjukan Opera Minangkabau Malin Nan Kondang sebagai Alih Wahana KabaMalin Kundangadalah proses penciptaan pertunjukan Opera Minangkabau yang bertitik tolak dari penafsiran ulang kaba Malin Kundang. Proses penciptaan pertunjukan Opera Minangkabau tersebut, diawali dari sebuah riset terhadap berbagai penafsiran atas kaba Malin Kundang sebagai titik tolak terbentuknya penafsiran baru atas kaba tersebut..Penafsiran baru tersebut kemudian dikreasi untuk menghasilkan bentuk lakon baru, yang kemudian diberi judul Malin Nan kondang.Lakon baru inilah yang menjadi pijakan dalam perancangan pemanggungan (spektakel) yang mencirikan sebuah pertunjukan Opera Minangkabau.Penuangan tersebut merupakan bentuk perancangan yang dimulai dari analisis lakon, pembuatan adegan demi adegan dan penempatan aspek pendukung opera yang meliputi gerak, dendang dan penghayatan seni peran. Aksentuasi opera diwujudkan dengan penggunakan ragam seni tradisi Minangkabau bagi kebutuhan perancangan Opera Minangkabau secara keseluruhan. Aksentuasi itu meliputi dialog dengan dendang, penggunaan koreografi dan paduan suara dan dialog yang berbentuk puisi.Kata kunci : Kaba Malin Kundang; Lakon Malin Nan Kondang; Opera Minangkabau","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"31 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125704766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Pengelolaan Pertunjukan Teater di Jakarta tahun 1972 hingga tahun 2017","authors":"Deden Haerudin","doi":"10.24821/dtr.v4i1.4396","DOIUrl":"https://doi.org/10.24821/dtr.v4i1.4396","url":null,"abstract":"Pertunjukan teater dimaknai sebuah pengomunikasian gagasan dan pemikiran seniman melalui pertunjukan. Meskipun dalam proses pengomunikasian tersebut dibatasi oleh sejumlah batasan kekuasaan. Penelitian ini bertujuan untuk mengetahui pengelolaan pertunjukan teater pada kegiatan Festival Teater Jakarta kurun waktu 1972 hingga 2017. Penelitian ini dilaksanakan dengan menggunakan metode studi kasus kesejarahan. Data penelitian dikumpulkan melalui dokumen dan wawancara untuk selanjutnya dikategorikan dan dianalisis untuk menemkukan sejumlah temuan. Temuan penelitian tersebut selanjutnya divalidasikan dengan teknik validasi triangulasi sumber data yang menyinkronkan sejumlah sumber data pada temuan penelitian. Penelitian ini mengungkap bahwa pengelolaan pertunjukan teater pada kegiatan FTJ mengadaptasi kebijakan pemerintah yang berwenang ditandai dengan dua periode (periode 1972-2000 dan periode 2000-2017) dengan memerhatikan kebutuhan dan potensi daya ungkap para kalangan seniman. FTJ telah menjadi magnet bagi para pegiat teater untuk mendapatkan pengakuan sebagai kelompok teater. Meskipun, tak sedikit kelompok teater yang membubarkan diri pasca mengikuti kegiatan FTJ. Penelitian ini merekomendasikan topik penelitian selanjutnya untuk mengungkap pengelolaan teater pasca partisipasi kegiatan FTJ.","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125303246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Membaca Opera Batak Lakon Perempuan di Pinggir Danau Produksi Pusat Latihan Opera Batak","authors":"Lismade Soraya Juliana Siagian","doi":"10.24821/DTR.V2I2.3311","DOIUrl":"https://doi.org/10.24821/DTR.V2I2.3311","url":null,"abstract":"Opera Batak is one of theatre in Indonesia. This research about dramaturgy of Opera Batak. The Dramaturgy of Opera Batak Perempuan di Pinggir Danau, PLOt production at North Sumatera, begins with understanding the staging of more than understanding a written text by using the theoretical basis of theater dramaturgy by Euginio Barba and research of qualitative methods. This research has been doing for two month at Pematang Siantar, North Sumatera district where Batak Opera originally come from. This research aims to dig about structure and tecstur, and the theatre elements from the performance. Opera Batak PLOt production in the group play Perempuan di Pinggir Danau that the form of theater based on traditional Batak area for the Batak society as a medium of entertainment and messaging truths of life.Keywords: theatre; dramaturgy; Opera Batak","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128687603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Idealisme Seniman Berdampak pada Marginalisasi Kesenian Indang Tradisi","authors":"Indrayuda Indrayuda","doi":"10.24821/dtr.v2i2.3310","DOIUrl":"https://doi.org/10.24821/dtr.v2i2.3310","url":null,"abstract":"This article aims to reveal and analyze the problem of the artistry of traditional art in Padang Pariaman district. Today the existence of Indang art less popular in the cultural life of the community Padang Pariaman. In turn, Indang art is rarely used and functioned by Padang Pariaman society today. The research was done by explanation method, and the research data is qualitative. Data collected throughout the interview process, observation of socio-cultural symptoms of society, and the existence of Indang. The analysis was done by ethnography approach, by determining component analysis and determining the cultural theme. The result of the research obtained is that the structure and shape of Indang have not changed until now. Indang art form and structure is less suitable to the taste of today’s society so that Indang art is less popular to the public for entertainment activities. The activities of artists on stage often disturb the artistic and aesthetic performances, i.e. the artists often create any activities that spoil the atmosphere of the show.Keywords: Indang tradisi; form and structure; ethnographic approach; explanation method","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124901736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009","authors":"Yudiaryani Yudiaryani, Wahid Nurcahyono, Sylvia Angreni Purba","doi":"10.24821/dtr.v2i2.3313","DOIUrl":"https://doi.org/10.24821/dtr.v2i2.3313","url":null,"abstract":"Cultural identity in ketoprak performance should depart from all cultural products themselves. Strengthening the form of ketoprak performance in the middle of the era becomes important for artists in building their creativity. The strategy was designed so that people assume that ketoprak was theirs and able to be their representation. Based on the data collected, the number of groups, performances, and ketoprak artists in DIY were as follows. The number of groups in four districts and one municipality were 497 groups. The number of ketoprak showed from 1999-2009 was 145 times. The highest number of ketoprak groups was in Kulonprogo Regency, followed by Gunungkidul Regency, Bantul Regency, Sleman Regency, and finally the Municipality. The year 2005 was a milestone in the development of ketoprak to the present. The successful renewal of ketoprak shows can be seen by the number of shows which are 113 times over five years (from 2005 to 2009), which means that there were twenty ketoprak shows every year, and every month there were two ketoprak shows. The condition was triggered by several factors as follows. First, local government awareness to determined the icon of DIY tourism as part of globalization. Second, the awareness of artists to package performances that match the demands of the times. Third, awareness of the artistic layout strategy using symbolic and supported by Tobong ketoprak tricks. Fourthly, the influence of ketoprak humor and ketoprak R&D which still uses the style of play and jokes, causes the ketoprak show to be no longer a mere political tool, but a tool and place of friendship for the citizens. Fifth, the story was no longer based on myths, chronicles and legends, but penetrated the wayang story but with a more contextual interpretation of the story with the present. By seeing the many activities of ketoprak performances in DIY it can be said if ketoprak has become an icon of culture and tourism in DIY. Ketoprak performances tread its survival was no longer a traditional art, but has become a form of modernist art. Over the past ten years, the ketoprak show has experienced quite improved conditions. The vigilance of artists and audiences must be constantly reminded. The trick was to continuing to enhance the role of government as a protector of arts and culture. The ketoprak festival must continuing to be held continuously. Improving the skills of ketoprak artists must continuing to be sharpened. Of course the friendship between Ketoprak artists must continuing to be encouraged. Government’s appreciation for ketoprak artists must be increased.Keywords: identity; ketoprak; strengthening; globalization","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130567795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Menyoal Ketubuhan dan Nilai Performatifnya","authors":"F. Widaryanto","doi":"10.24821/dtr.v2i2.3309","DOIUrl":"https://doi.org/10.24821/dtr.v2i2.3309","url":null,"abstract":"Corporeality as an existance of human body related to object and subject aroundis interesting to be explored, not only its capasity as an instrument of ritualpurposes but also as instrument of its daily “performative” expression. Thekinetic art is not considered belong to dance genre. It can be seen that the genreis expanded to be fluid so that one finds a difficulty to define performance stylewhich not convensionally has form patterns indicated by its kinetic genealogy.Through a profundity of the observation of human body motion related bothculturally and naturally to spatial “ecosystem,” one can see the performativevalue instead of its conventional performance characterized by the form ofits creative tradition. Furthermore, contemporarily it can be indicated thatcorporeality with performative values has a lot of opportunities to contributesignificantly within various aspects of ecocriticism. This is a kind of a critical thinking in term of an efford to remind everybody to be aware of the relationship between human and the environmental problems.Keywords: corporeality; ecocriticism; performative value","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131606569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Revitalisasi Tari Tayung Raci Desa Raci Kulon, Kecamatan Sidayu, Kabupaten Gresik","authors":"Dwi Zahrotul Mufrihah","doi":"10.24821/dtr.v2i2.3312","DOIUrl":"https://doi.org/10.24821/dtr.v2i2.3312","url":null,"abstract":"Tayung Raci dance is the original art of Raci Kulon village, Sidayu district, Gresik regency, which has been experienced apparent death 27 years. Meanwhile, Tayung Raci Dance begin to reappear sometime around 2014. The form of presenting Tayung Raci dance experience a change that is used to maintain its exclusion as the original art of Raci Kulon village. The change does not leave a culture that has became the identity of Tayung Raci Dance adapt to the community. This is called the revitalization effort that serves as one way of cultural preservation. The formulation of the research problem is how to revitalize Tayung Raci dance, Raci Kulon village, Sidayu district, Gresik regency. The objective of this research is to know the revitalization of Tayung Raci dance, Raci Kulon village, Sidayu district, Gresik regency. This research uses qualitative approach for the case of this study. The results of revitalization research take place in the form of presentation of Tayung Raci dance. The form of presentation are the presentation plot, motion, clothing, property, and music. Revolutions are divided into 5 rounds with some motion. The dress code has a symbolic meaning of dress or soldier’s uniform. The property consists of Wijil Trunojoyo spear, horses, Ketekan mask, Wedokan mask, Macanan mask and Pecut. Musical instruments use drums, Kenong and Tanjidor (drum), slompret and gong with the lyrics of songs use Sholawat Nabi.Keywords: revitalization; Tayung Raci dance; arts of Gresik district","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125890961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Akulturasi Budaya Islam-Jawa dalam Pementasan Kesenian Ketoprak","authors":"B. Setyawan","doi":"10.24821/dtr.v2i1.3297","DOIUrl":"https://doi.org/10.24821/dtr.v2i1.3297","url":null,"abstract":"The purpose of this study was to describe the form of acculturation of Javanese-Islamic culture in ketoprak performance. The acculturation of Javanese-Islamic culture can be found in a variety of Egyptian-style of ketoprak. The Egyptian’s ketoprak is often referred to as Ketoprak Baghdad, Ketoprak Stambul, and Ketoprak 1001 nights because the performed stories are from the Middle East (the story of 1001 nights). The acculturation of Islamic-Javanese culture in the Egyptian’s ketoprak can be seen in terms of stories that adopt the plays from the Middle East or the play of 1001 nights. Besides, the acculturation of Islamic-Javanese culture also appears in terms of costumes and accompaniment. The costumes used are different from Ketoprak in general, which is a combination of Javanese costume and Middle Eastern style clothing. In terms of accompaniment, the Egyptian style of ketoprak also uses “terbang” musical instruments by bringing in the Islamic nuances of songs. In today’s era, Islamic nuances of ketoprak are used in any activities related to ceremonies and commemorations of Islamic holidays. Therefore, the development of ketoprak in the present has become more flexible and adapted to the needs of the community.Keywords: acculturation; Islamic-Javanese culture; the Egyptian style; Ketoprak; Islamic nuances","PeriodicalId":209109,"journal":{"name":"Dance and Theatre Review","volume":"211 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123269097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}