TONIL: Jurnal Kajian Sastra, Teater dan Sinema最新文献

{"title":"REPRESENTATION OF LOVE IN THE GODFATHER","authors":"Meicky Shoreamanis Panggabean","doi":"10.24821/tnl.v20i1.7418","DOIUrl":"https://doi.org/10.24821/tnl.v20i1.7418","url":null,"abstract":"Research done in Italian prisons showed that the convicted mafia members exhibited significant antisocial traits but their capacity for emotional connection is higher than other imprisoned offenders in Italy. In another research, Schimmenti (2014) concluded that mafioso is more sensitive, family orientated, and less selfish than other murderers. In popular culture particularly in movies, mafioso is portrayed as callous and remorseless. Knowing that they can have emotional relationships, this study analyzes the types of love that are revealed in 'The Godfather', a mob movie that was nominated for 28 Oscars and won 9. The Ancient Greek has four different words for love: Agape, Eros, Philia, and Storge. This concept of love is popularized by CS Lewis and will be used as the basis of analysis. This research focused on the main character, Michael Corleone, and examined which type of love he expressed and to whom it poured out: His own family or his mafia family. The movie portrayed that Michael was only capable of loving his father and his daughter. He could express Storge yet was unable to have affection towards his wife (Eros) thus automatically did not have the capacity to love unconditionally (Agape).  He also had a hard time to have close relationship with anyone and did not love his brothers or sister, either (Philia).","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122659002","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":"Reformulasi Riset Penciptaan Keaktoran Teater yang Kreatif, Ilmiah, dan Terukur Berdasarkan Teks Drama","authors":"P. Purwanto","doi":"10.24821/tnl.v20i1.9407","DOIUrl":"https://doi.org/10.24821/tnl.v20i1.9407","url":null,"abstract":"The creation of research-based role art requires proper scientific and theoretical methods. Many actors' creation results have not used logical and measurable methods, theories and processes. The process of creation based on the work of drama requires the analysis of drama as the basis of creation. Subjective considerations need to be objectified. On the other hand, the originality demands of casting work are required by examining and analyzing similarities and differences with previous similar works. The theory used is also complex, ranging from the analysis of structure and texture, actors as part of the theatre, the design of the casting work, the process of creation to the aesthetics of acting. Literature studies and practical experience can provide one solution for preparing the background of creation, the use of theatrical production theory, the position of actors in a theatre to design and methods that strengthen the creation process to become a high-quality acting work. Keywords: creativity, drama, actor, research, theatre Abstrak: Penciptaan seni peran berbasis riset membutuhkan metode ilmiah dan teori yang tepat. Sejumlah hasil penciptaan aktor belum memakai metode, teori, dan proses yang dilakukan secara logis dan terukur. Proses penciptaan berdasarkan karya drama memerlukan analisis drama sebagai dasar penciptaan. Pertimbangan yang  subjektif perlu diobjektifkan. Di sisi lain, tuntutan originalitas suatu karya pemeranan dipersyaratkan dengan mencermati dan menganalisis persamaan maupun perbedaan dengan karya serupa sebelumnya. Teori yang dipakai juga kompleks, mulai dari analisis struktur dan tekstur, aktor sebagai bagian teater, rancangan karya pemeranan, proses penciptaan hingga estetika aktingnya. Kajian pustaka, dan pengalaman empirik dapat memberikan salah satu solusi untuk penyusunan latar belakang penciptaan, penggunaan teori produksi teater, posisi aktor dalam teater hingga rancangan, dan metode yang memperkuat proses penciptaan sehingga menjadi karya akting yang berkualitas tinggi..Kata kunci: kreativitas, drama, aktor, riset, teater","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123361531","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":"BENTUK PERTUNJUKAN TABBHUEN DI PONDOK PESANTREN WALI SONGO KABUPATEN SITUBONDO","authors":"Damar Trisna Asih, Arif Hidajad","doi":"10.24821/tnl.v20i1.9532","DOIUrl":"https://doi.org/10.24821/tnl.v20i1.9532","url":null,"abstract":": Tabbhuen is a theatrical performance that developed in Madurese society. The presence of Tabbhuen originated from a piece of music that was used as an accompaniment to a theatrical scene. The word tabbhuen comes from the word tabuhan, which means a musical instrument that is beaten. In line with that, because it develops in the Madurese community, it is called Tabbhuen. One of the institutions that developed Tabbhuen is the Wali Songo Islamic Boarding School, Situbondo Regency. This is what gives rise to the uniqueness of the form of the Tabbhuen performance which was developed in Islamic boarding schools as a form of Dakwah bil Seni. This study uses a qualitative descriptive method with data collection techniques through observation, interviews, documentation, field notes. The results of the study show that Tabbhuen Wali Songo has a unique form of performance because it emphasizes Islamic elements and contains spiritual values as a form of Da'wah.","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130937861","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":"Representasi Identitas Jawa Pada Cerita Maya (Film Maya Daya Raya) Melalui Analisis Unsur Sinematik: Mise en Scene","authors":"Stri Agneyastra Dite","doi":"10.24821/tnl.v20i1.9336","DOIUrl":"https://doi.org/10.24821/tnl.v20i1.9336","url":null,"abstract":"Abstrak: Film merupakan salah satu bentuk media komunikasi yang berisikan pesan di dalamnya. Sebagai media yang memuat realitas sosial, pesan pada film dikonstruksikan oleh sineas melalui wacana-wacana yang diinterpretasikan dari aspek naratif cerita. Konstruksi wacana tersebut membentuk tanda dan simbol baru yang mengandung isyarat dan dituangkan secara teknis pembuatan film. Isyarat hadir dan memunculkan representasi sebagai sebuah upaya dalam menggambarkan suatu realitas yang mewakili suatu keadaan atau budaya tertentu. Simbol paling sederhana adalah bahasa yang dapat dibangun melalui berbagai macam cara, salah satunya melalui visual. Pada film unsur visual dihadirkan melalui pendekatan unsur sinematik, salah satunya melalui elemen mise en scene yang merupakan segala sesuatu yang terlihat di depan kamera. Penelitian ini menggunakan sampel cerita Maya pada film Maya Daya Raya untuk mengetahui identitas budaya Jawa yang direpresentasikan pada visual dalam sebuah film. Pendekatan analisisnya menggunakan pendekatan mise en scene dengan metode analisis deskriptif, yakni mengumpulkan data melalui sumber data dan kemudian dideskripsikan untuk membuat suatu kesimpulan. Penelitian ini bertujuan untuk mengkaji pembangunan representasi sutradara terhadap cerita Maya yang dikonstruksikan melalui bentukbentuk tanda yang dikonstruksikan sineas yang memuat identitas Jawa sebagai latar belakang cerita. Kajian penelitian ini mendapatkan kesimpulan bahwa mise en scene menjadi cara yang paling efektif dan paling kuat dalam menghadirkan tanda, lambang dan isyarat melalui visual. Mise en scene dapat menjadi wahana bagi sineas untuk mengeksplorasi segala bentuk tanda, lambang dan isyarat yang memperkuat aspek naratif cerita yang menjadi latar belakang yang memuat identitas cerita.","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122048837","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":"TEMA DAN PENOKOHAN DRAMA LAUTAN BERNYANYI KARYA PUTU WIJAYA; SEBUAH KAJIAN SOSIOLOGI DRAMA","authors":"Fitri Rahmah, Bunga Islamy","doi":"10.24821/tnl.v19i2.7613","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.7613","url":null,"abstract":"","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133596568","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":"KAJIAN STRUKTUR LAKON LURAH KLEPEK DAN MAKNA SIMBOLIK PADA PERTUNJUKAN SANDUR MANDURO KECAMATAN KABUH","authors":"Tasi'awati Salsa Kaliwanovia, R. Oktaviani, Arif Hidajad","doi":"10.24821/tnl.v19i2.8189","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.8189","url":null,"abstract":"Klepek","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129450457","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":"PEMERANAN TOKOH ROBERT DALAM NASKAH A LIFE IN THE THEATRE KARYA DAVID MAMET","authors":"Kevin Abani, Wahid Nurcahyono, Rukman Rossadi","doi":"10.24821/tnl.v19i2.8372","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.8372","url":null,"abstract":"A Life In The Theater by David Mamet is a theater script that tells about the problems of a stage actor's life between teacher and student that describes friendship, growth, development, and the human condition in life as a stage actor. To realize the character of Robert in the script of A Life In The Theater by David Mamet, the author uses the acting theory of Stanislavski The System, which is a systematic approach to training actors. In the process of playing the role, the magic if method is used, namely the ability to imagine the character is in a series of fictional situations and imagine how and what the character will do in dealing with the situation. Keywords: Actor, A Life In The Theatre, David Mamet, The System, Magic If","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133270384","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":"ANALISIS TEKNIK RESTRICTED NARRATION DALAM MEMBANGUN DRAMATIK PADA SINEMATOGRAFI FILM 1917 KARYA SAM MENDES","authors":"Dimas Eka Maulana","doi":"10.24821/tnl.v19i2.7857","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.7857","url":null,"abstract":"Pada umumnya teknik bercerita naratif pada film dibagi menjadi dua yaitu Restricted Narration dan Omniscient Narration. Film “1917” karya Sam Mendes yang rilis pada tahun 2019 merupakan salah satu film yang menggunakan teknik Restricted Narration. Restricted Narration atau penceritaan terbatas adalah, salah satu pendekatan naratif yang  membatasi informasi cerita kepada penonton hanya melalui satu sudut pandang yakni pada tokoh utama. Pembatasan informasi ini bertujuan untuk menciptakan efek kejutan-kejutan yang tak terduga pada penonton. Tujuan penelitian ini adalah menganalisis bagaimana Restricted Narration dapat membangun dramatik dalam film “1917”. Pada umumnya teknik ini bisa dilihat dari berbagai aspek film seperti sinematografi, editing, serta naskah. Tentunya hal ini juga berhubungan dengan alur naskah dan konsep sutradara. Analisis dilakukan dengan menggunakan pendekatan analitik pada seni khususnya pada film. Penelitian ini juga menggunakan metode kualitatif deskriptif untuk membedah kaidah-kaidah teknik Restricted Narration. Hasil penelitian ini menjabarkan  Restricted Narration yang diterapkan pada adegan-adegan di film “1917” secara terperinci. Hasil penelitian ini juga menunjukan bahwa Restricted Narration cukup efektif untuk membangun dramatik dalam sebuah film.Kata kunci: Restricted Narration, Film, Teknik, Sinematografi","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134079868","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":"TEKNIK QUICK CHANGE SEBAGAI DASAR PENCIPTAAN TATA BUSANA NASKAH THE DANCING PRINCESS KARYA CLAUDIA HAAS","authors":"Binti Dewi Milati, Agus Prasetiya, P. Wibowo","doi":"10.24821/tnl.v19i2.8373","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.8373","url":null,"abstract":"Costume is an important part of theatrical performances. Clothing is used as a character's identity and can also reflect the character's character. Quick Change is a method of changing quickly on stage. Quick Change became the basic idea in fashion creation. Script for The Dancing Princess by Claudia Haas is a script that tells the story of the lives of four princesses, who continue to dance because they are magicd by a royal adviser. Analysis of characters and settings is very necessary to create a dress. The Victorian era will be the setting for the place as well as a reference in the creation of fashion with thetechnique Quick Change. Aesthetics will be the basis of theory in the creation of fashion with thetechnique  Quick Change. The choice of shape, color, and fashion that is chosen will lead to an aesthetic value objectively. Thetechnique knock down adopted from the science of architects is also one of the methods to create clothing with thetechnique Quick Change. Quick Change is important in theater to improve productions both visually and technically.Keywords : Costume, Quick Change, Knock Down, Victorian, The Dancing Princess","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130576231","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":"THE FRAGILE MASCULINE: GENDER, SEXUALITY, RACE AND RELIGION AS A COMPLEXITY OF ELISCHA'S CHARACTER IN “LOVE ME HARDER” BY CHICKS* (2020)","authors":"Umi Maisaroh","doi":"10.24821/tnl.v19i2.7267","DOIUrl":"https://doi.org/10.24821/tnl.v19i2.7267","url":null,"abstract":"Performance elements such as stage properties, actors, text, music, lighting, and other elements appear when the performance represents symbols and meanings. This study tries to deconstruct ideas about gender and sex through an exploration of reading the meaning of the elements of the 'Love Me Harder' performance by the theatre group CHICKS*. The performance was held at the LOFFT Leipzig Theater in February 2020. The data collected was from watching the performance booklet and the theatre group's website. As a theoretical framework, this research will use literature studies, for example, theorists Susan Bordo (2000), Judith Butler (1999), Daniel Boyarin (2003), and Ann Stoler (1996). This study presents the discourse on the meaning of the body and the type or form of sex, especially the phallus, as something that carries feminine or masculine traits naturally or culturally. From the analysis, it can also be explained that the show tries to dismantle the stereotypes attached to masculine traits and criticizes masculine domination and patriarchy concerning power and colonialism, and discrimination against race and religion.Keynotes: performance, Love Me Harder, CHIKS*, stereotype","PeriodicalId":392969,"journal":{"name":"TONIL: Jurnal Kajian Sastra, Teater dan Sinema","volume":"1507 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125155868","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}