{"title":"The Concept of NEO Theater Performances: Appreciation for Acting","authors":"Tatang Abdullah","doi":"10.24821/DTR.V1I2.3160","DOIUrl":"https://doi.org/10.24821/DTR.V1I2.3160","url":null,"abstract":"This research investigates NEO Theatre (NT) by using historical approach. Ithas several significances; i.e. firstly, NT is one of modern theater groups thatinfluences modern theater development in Bandung; secondly, though it is stillrelatively new, the creativity of NT cannot be separated from the history ofFathul A. Husein’s creativity development as its director. By applying methodof history through several stages from heuristics, critics, interpretation, tohistoriography; NT’s creativity pattern can be constructed; it is in accordancewith the aim of this research, to achieve the historical illustration of NT’screativity pattern in realizing the prototype of theater performance entitledTritik Segaris Putih. Fathul A. Husein, as the NT leader, was one of the foundersof theater Actors Unlimited (AUL) established in mid 1990s. Having it ended,Fathul A. Husein, who acted more as a director, founded NT on 18 April 2012.Based on the works Fathul directed since his time in AUL, the creative processof NT shows similar creativity with the Studiklub Theater Bandung (STB). Animportant fact to support this statement is that as a modern theater observerand critic, Fathul had ever joined in some productions of STB during the timeof Suyatna Anirun (RIP) before he decided to join in the founding of AUL. Thus,it can be said that the model of STB theater creativity pattern is also reflectedon the creativity pattern of NT in each of its theater production.Keywords: theater history; theater production; NEO Theater","PeriodicalId":215960,"journal":{"name":"Dance & Theatre Review","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126782365","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":"New Show Paradigm of Wayang Klithik Wonosoco","authors":"I. N. Murtana","doi":"10.24821/DTR.V1I2.3163","DOIUrl":"https://doi.org/10.24821/DTR.V1I2.3163","url":null,"abstract":"AbstractWayang Klithik Wonosoco is classified as rare because it is only performedonce a year as a means of bersih desa ritual. However, the show still comeswith a new paradigm. The results of the study show that the wayang KlithikWonosoco Village has undergone a paradigm shift since puppeteer and severalmusicians studied at the Surakarta Kasunanan Palace. This research appliedbasic research method by applying the theory of change to enrich the basicknowledge. The basic understanding of the values of the cultural practices ofwayang shows in the Surakarta Kasunanan Palace is converted to WonosocoVillage after going through an adaptation process. This article is expectedto be an inspiration for the development of science and practice in the fieldof puppet art. The paradigm of Wayang Klithik Wonosoco has changed; as aresult, it becomes new. The changes involve the concepts, methods, forms andstructures of the staging which consists of jejer, babak unjal, paseban jawi,perang gagal, goro-goro, pertapan, perang brubuh, and tancep kayon. Likewisesulukan (puppeteer singing) is enriched with several cengkok sulukan of shadowpuppet and pocapan (monologue) as signs of changing scenes in each pathet.The adaptation process has change the form and structure of Wayang KlithikWonosoco show; it becomes new.Keywords: Wayang Klithik; Wonosoco","PeriodicalId":215960,"journal":{"name":"Dance & Theatre Review","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128084536","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":"Traditional Elements in the Iranian Realistic Drama","authors":"F. Zahedi","doi":"10.24821/DTR.V1I2.3161","DOIUrl":"https://doi.org/10.24821/DTR.V1I2.3161","url":null,"abstract":"Modern Iranian drama developed in line with a liberal school of thought, bothbefore and after the Constitutional Revolution in 1906. It came during thetransition from a traditional to a new type of society that was able to tolerateand accept the revolution. The arrival of European theatre in 1878, with itsdependence on a written text rather than improvisatory acting, was part of themodernization process in Iran that enjoyed its height in the early years of thetwentieth century. At the same time, traditional theatre was being rediscovered,and playwrights started using some of its forms to develop indigenous modernIranian theatre to meet the standards of the genuine past and dynamic present.Although there was an assimilation of certain secular tendencies, the newlyappearing type of drama satisfied the need for modernity through defendingpolitical and social liberties. The road to transition began in the 1850’s andgained momentum during the 1940’s through the 1970’s, leaving its effects onIranian drama in such a way that its legacy persists to date.Keywords: realistic drama; Iranian drama; Iran Constitutional Revolution","PeriodicalId":215960,"journal":{"name":"Dance & Theatre Review","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120809986","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":"Giyah Supanggah: Trace of Artist of Wayang Topeng Dalang Klaten","authors":"S. Wahyuni","doi":"10.24821/DTR.V1I2.3164","DOIUrl":"https://doi.org/10.24821/DTR.V1I2.3164","url":null,"abstract":"The significance of this research is the transmission of cultural tradition artfrom the descendants of Makaton (Somokaton) puppeteers, namely Jaka PurwaPandaya (father) and Widhi Harsono (grandfather). As an active heir, GiyahSupanggah is a woman who becomes a puppeteer as well as dancer of wayangtopeng dalang, cut and make puppets, and deepen the knowledge and skills ofplaying gamelan. Giyah is a figure of artist who has various artistic talents andemancipation figure of Javanese women of her times. As a mask puppet dancer,she is committed to preserving and developing the genre of performing artsin order to survive and thrive. Giyah’s integrity is shown in the art activitiesby establishing Sanggar Sekar Kedhaton in her home. It is expected that thetransmission of culture among the younger generation as the successor oftraditional art can take place. The present study belongs to a qualitative researchemploying descriptive-analysis based on anthropological approach. It focuseson the analysis of internalization process, socialization, and enculturation thatform Giyah as an active heir of puppeteer and dancer of wayang topeng dalangfrom Klaten. The qualification of Giyah as a puppeteer and dancer contributesto the preservation of traditional art marked by her reputation as a public figureof a traditional artist. The purpose of this study is to know and describe the roleof Giyah as a bearer of traditional art as a legacy of local wisdom. The benefitis to reveal the existence of a forum of creativity for the younger generation inan effort to preserve and develop the art of tradition in order not to be extinctfaded by the times.Keywords: Giyah Supanggah; female puppeteer; wayang topeng dalang","PeriodicalId":215960,"journal":{"name":"Dance & Theatre Review","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126306198","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":"Dramaturgy of Ludruk Karya Budaya on the Story of Sarip Tambak Oso","authors":"Jihan Kusuma Wardhani","doi":"10.24821/DTR.V1I2.3162","DOIUrl":"https://doi.org/10.24821/DTR.V1I2.3162","url":null,"abstract":"This paper presents the dramaturgy of Sarip of Tambak Oso (STO), performedby Ludruk Karya Budaya Mojokerto (LKBM). LKBM as a Ludruk art group inEast Java has survived for about 47 years. The STO story has outlived the LKBMgroup. Ludruk has become a typical entertainment in East Java, and STO’s storyis one of the legends which continues to live in the people of East Java, especiallySidoarjo. STO’s story is very close to the community and the conflict in the playis a common issue in the community. This story reminds us of the importanceof good communication between the government and the community. Thisplay tells about the struggle for Sarip’ rights who does not want to pay taxesbecause of his poverty. This led to the resistance to the Dutch governmentand its accomplices. The Dutch finally found Sarip’s weakness. Sarip’s motherwould awake Sarip from death when she yelled out Sarip’s name. This storyis considered a true story by some people in the East Java region, especially inthe Oso Pond area, Sidoarjo. As the development progressed, this story laterbecame a lesson for the local community to wisely respond to all policies madeby the government. The government and the people should share the rightcommunication to create harmony. The dramaturgy study of LKBM in STO playwas important because the documentation was still relatively rare, and alsothe STO story is still contextual to date. The dramaturgy study of LKBM in theSTO play is expected to be able to become a learning, whether Ludruk as a folkart group or a story that can become known for the community.Keywords: Sarip Tambak Oso; Ludruk Karya Budaya","PeriodicalId":215960,"journal":{"name":"Dance & Theatre Review","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134108469","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}
京公网安备 11010802042870号
求助内容：
应助结果提醒方式：