Gelar Jurnal Seni Budaya最新文献

{"title":"SUTRADARA DJAKA HARJANTO PERTUNJUKAN HARDHASANGKARA WAYANG ORANG RRI SURAKARTA","authors":"M. Alifi, I. N. Murtana","doi":"10.33153/GLR.V15I2.2213","DOIUrl":"https://doi.org/10.33153/GLR.V15I2.2213","url":null,"abstract":"Hasil penelitian menunjukkan bahwa sutradara wayang orang merupakan sebuah jabatan untuk mendidik, mengajar, membimbing, mengarahkan, melatih, menilai, dan mengevaluasi pertunjukan wayang orang. Sutradara fungsinya sebagai pendidik menyampaikan pengetahuan yang telah dimiliki kepada semua pemain. Figur seniman tradisi yang melekat pada diri Joko Harjanto karena profesionalisme yang dimiliki untuk melestarikan budaya tradisi wayang orang. Saat ini hiburan berkembang cukup pesat, mendobrak nilai budaya masyarakat. Figur seniman tradisi berperan aktif menyelamatkan dan kembali pada akar budaya pertunjukan wayang orang. Sesuai dengan semangat RRI Surakarta yang lebih mengutamakan nilai-nilai budaya yang sudah ada dimasyarakat dari pada menciptakan budaya baru dalam seni pertunjukan.Kata kunci: Wayang Orang, Hardhasangkara, Sutradara.  The results of the study show that the director of wayang orang is a position to educate, to teach, to guide, to direct, to train, to assess, and to evaluate the performances of wayang orang. The director functions as an educator conveys the knowledge that has been shared with all presenters. A traditional artist who is attached to Joko Harjanto because of the professionalism he has to preserve the culture of wayang orang traditions. At present entertainment is growing quite rapidly, breaking the cultural value of society. Traditional artist figures play an active role in saving and returning to the cultural roots of the wayang orang. It is In accordance with the spirit of RRI Surakarta which prioritizes the cultural values that already exist in the community rather than creating a new culture in the performing arts.Keywords: Wayang Orang, Hardhasangkara, Director.   ","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44367729","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":"REKONSTRUKSI TARI BEDHAYA ENDHOL-ENDHOL OLEH GUSTI KANJENG RATU WANDANSARI DI KRATON KASUNANAN SURAKARTA HADININGRAT","authors":"Kezia Putri Herawati, Nani Prihatini","doi":"10.33153/GLR.V16I2.2489","DOIUrl":"https://doi.org/10.33153/GLR.V16I2.2489","url":null,"abstract":"ABSTRAK Tari Bedhaya Endhol-Endhol diciptakan oleh I.S.K.S Paku Buwono X khusus ditarikan oleh putri-putri raja. Setelah I.S.K.S Paku Buwono X wafat tari ini sudah tidak pernah dipentaskan lagi, sehingga bentuk dan tekniknya sudah tidak nampak. Akhirnya muncul gagasan dari para pemangku adat yang dipimpin oleh Gusti Kanjeng Ratu Wandansari untuk merekonstruksi tari Bedhaya Endhol- Endhol. Berdasarkan fenomena tersebut maka diungkap bagaimana proses dan hasil rekonstruksi tari Bedhaya Endhol-Endhol oleh Gusti Kanjeng Ratu Wandansari. Konsep revitalisasi Sri Rochana Widyastutiningrum dan konsep aspek-aspek dasar koreografi Sumandiyo Hadi pun digunakan untuk mengetahui proses dan bentuk tari Bedhaya Endhol-Endhol hasil rekonstruksi. Hasil yang diperoleh bahwa proses tersebut mencakup ide dan latar belakang, proses penggalian yang terdiri atas penggalian gendhing, penggalian gerak, serta tempuk gendhing. Kemudian di dalamnya terjadi proses interpretasi mengenai semua komponen yang membentuk tari Bedhaya Endhol-Endhol. Bentuk tari Bedhaya  Endhol-Endhol hasil rekonstruksi mencakup aspek (1) Deskripsi tari, (2) Gerak Tari, (3) Pola Lantai, (4) Musik Tari, (5) Judul Tari, (6) Tema Tari, (7) Jumlah dan Jenis Kelamin, (8) Rias dan Busana, (9) Ruang Tari, (10) tata Cahaya. Hasil rekonstruksi tari Bedhaya Endhol-Endhol oleh Gusti Kanjeng Ratu Wandansari telah mengembalikan kembali tari Bedhaya Endhol-Endhol yang sempat ditinggalkan, meskipun belum dapat mewujudkan konsep tari Bedhaya Endhol-Endhol yang menitikberatkan pada karakter bocah. Kata kunci: Rekonstruksi, Bedhaya Endhol-Endhol, Gusti Kanjeng Ratu Wandansari. ABSTRACT Bedhaya Endhol-Endhol dance was created by I.S.K.S Paku Buwono X. It is specially run by the princesses. After I.S.K.S Paku Buwono X died, the dance has never been staged again, so its form and technique have not been seen. Finally, there came the idea of the traditional actors led by Lord Kanjeng Ratu Wandansari to reconstruct Bedhaya Endhol-Endhol dance. Based on this phenomenon, it is revealed how the process and result of Bedhaya Endhol-Endhol dance reconstruction by Gusti Kanjeng Ratu Wandansari. The concept of revitalization by Sri Rochana Widyastutiningrum and the concepts of the basic aspects of Sumandiyo Hadi’s choreography were also used to determine the process and form of Bedhaya Endhol-Endhol dance reconstruction. The results obtained include the idea and the background, the excavation process consisting of excavating gendhing, motion excavation, and tempuk gendhing. Then there is a process of interpretation of all the components that make up Bedhaya Endhol-Endhol dance. The form of reconstructed Bedhaya Endhol-Endhol dance is covering the aspects (1) Dance description, (2) Dance movements, (3) Floor pattern, (4) Dance music, (5) Dance title, (6) Dance theme and gender, (8) Make-up and Clothing, (9) Dance Room, (10) Lighting. The reconstruction of Bedhaya Endhol-Endhol dance by Gusti Kanjeng Ratu Wandansari has restored Be","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42172253","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":"SANGGIT CATUR LAKON KALABENDU SUSUNAN SUMANTO SAJIAN MANTEB SOEDHARSONO","authors":"T. Widodo","doi":"10.33153/GLR.V16I1.2335","DOIUrl":"https://doi.org/10.33153/GLR.V16I1.2335","url":null,"abstract":"<p>Tujuan penelitian ini untuk mendeskripsi dan memahami struktur dramatik, <em>sanggit catur</em>, dan nilai-nilai dalam lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono. Permasalahan yang dikaji adalah: (1) bagaimana struktur dramatik lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono? (2) bagaimana <em>sanggit</em> dan <em>garap catur</em> lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono?, dan (3) bagaimana nilai-nilai yang disampaikan dalam lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono? Bahan penelitian dikumpulkan melalui studi pustaka, wawancara, dan pengamatan langsung dan tidak langsung pada pertunjukan lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono. Dalam penelitian ini digunakan analisis struktur dramatik, <em>sanggit</em>, dan <em>garap catur</em> dengan menggunakan metode deskriptif interpretatif. Hasil penelitian menunjukkan bahwa: (1) lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono ini sebenarnya merupakan petikan adegan-adegan penting dari beberapa lakon tradisi yaitu : lakon <em>Pamuksa</em>, lakon <em>Bale</em> <em>Sigala-gala</em>, lakon<em> Bratayuda</em>, dan lakon<em> Pendhawa Boyong</em>. Tahapan-tahapan dramatik dalam lakon<em> Kalabendu </em>adalah: <em>exposition, inciting-action, conflication, crisis, climax, resolution,</em> dan <em>conclusion.</em> (2) <em>Sanggit catur</em> lakon <em>Kalabendu</em> susunan Sumanto terdapat <em>sanggit janturan</em> (<em>janturan jejer, janturan adegan,</em> dan <em>janturan</em> <em>peristiwa</em>),<em> sanggit pocapan </em>(<em>pocapan </em>situasi,<em> pocapan </em>peristiwa,<em> pocapan </em>mandiri, dan<em> pocapan </em>peralihan),<em> </em>serta <em>sanggit ginem</em> (<em>ginem blangkon, ginem baku, ginem isen-isen,</em> dan <em>ginem banyol</em>). <em>Garap catur</em> lakon <em>Kalabendu </em>sajian Manteb Soedharsono terdapat<em> garap janturan </em>(<em>janturan </em>adegan),<em> garap pocapan </em>(<em>pocapan </em>peristiwa), dan <em>garap ginem</em> (<em>ginem blangkon</em>).(3) nilai-nilai yang disampaikan dalam lakon <em>Kalabendu</em> susunan Sumanto sajian Manteb Soedharsono adalah: nilai rendah-hati, nilai kesederhanaan, nilai tanggung-jawab, nilai kejujuran, nilai kebenaran, nilai persatuan, nilai balas budi, nilai ketuhanan, nilai <em>ngundhuh wohing pakarti</em> (hukum karma), nilai pendidikan, dan nilai keteguhan hati.</p><p> </p><p><strong>Kata kunci: </strong>struktur dramatik,<strong> </strong><em>sanggit catur</em>, nilai-nilai, lakon<strong> </strong><em>Kalabendu</em>.</p><p> </p><p> </p><p align=\"center\"><strong><em>ABSTRACT</em></strong></p><p> </p><p><em>The purpose of this study is to describe and understand the dramatic structure, sanggit , catur and values in lakon Kalabendu of Sumanto’s composition presented by Manteb Soedharsono. The problems studied are:</em></p><p> </p><p><em>(1)  </em><em>how the dramatic structure of Kalabendu by Sumant","PeriodicalId":33299,"journal":{"name":"Gelar Jurnal Seni Budaya","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2014-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69522438","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}