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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Journal of Urban Society´s Arts Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Tonil, Jurnal Kajian Sastra, Teater dan Sinema
Wahid Nurcahyono
Institut Seni Indonesia Yogyakarta
Arts Humanities Social Sciences

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TRANSFORMASI PERTUNJUKAN WAYANG BEBER JAKA KEMBANG KUNING MENJADI PERTUNJUKAN TEATER PANGGUNG nurcahyono, wahid
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Visually traditional Wayang Beber becomes unattractive when compared with the puppet, puppet show, or other stage plays. This is the reason why Wayang Beber need to get a good touch broadly on the form and meaning of the play contained therein. Theatrical action, song and music, color and composition are used as a means of said stories provide a wider opportunity for the emergence of imagination in the audience. The entire string of performances will form a separate text with an open and straightforward meaning. Active role of the viewer is needed in order to create a strong braid between the artist, the copyrighted work as well as the audience. It takes the efforts to invite more radical audience to be part of an artwork intact. Breakthroughs such as involving the viewer to enter into the process or the show can be a separate option in the lifestyles of people who are too lazy to visit the venue. Invites viewers into direct contact with the expected performances more intimate communication. Key word : Wayang Beber, unattractive, intimate communication 
Pementasan Teater Lingkungan “Sirna Ilang Kertaning Bumi” Refleksi Konflik Horizontal di Indonesia Wahid Nurcahyono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 13, No 1 (2012): Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v13i1.496

Abstract

Bentuk teater lingkungan merupakan sebuah karya seni yang bukan saja menghibur tetapi juga memberikan tawaran-tawaran bentuk penyajian lain dari yang lazim dipergunakan. Bentuk semacam ini diharapkan mampu mendekatkan permainan kepada penonton secara langsung karena penonton tidak perlu lagi mendatangi tempat pertunjukan akan tetapi permainanlah yang akan menjemput mereka di ruang-ruang publik di luar panggung. Aksi dan interaksi secara langsung antara penonton dan permainan mengajak peran serta aktif penonton untuk merasakan langsung teks-teks yang disampaikan pemain. Meskipun bentuk-bentuk kesenian yang melibatkan penonton secara aktif telah dimiliki oleh masyarakat, misalnya upacara adat dan seremoni yang lain, akan tetapi hal tersebut jarang dilakukan pembaharuan dan hanya bersifat warisan atau tradisi saja. Maka dalam proses inisutradara mencoba menghadirkan bentuk teater lingkungan dalam sebuah ruang ‘Rumah Makan’ yang mengambilcerita rakyat masa lalu yang diolah dan disesuaikan dengan masyarakat saat ini. Kemampuan sutradara untuk mengarahkan serta memberi ruang dalam berkreasi bagi pemainnya sangatlah penting. Sementara itu pemain yangmemiliki kecakapan di bidangnya harus siap melakukan improvisasi untuk menghadapi aksi dan interaksi secaraspontan dengan penonton.Kata kunci: teater lingkungan, ruang publik, sirna ilang, interteks.ABSTRACTPerforming Environment Theatre “Sirna Ilang Kertaning Bumi”. A Refl ection on the Horizontal Confl ict in Indonesia.The form of environmental theater is a work of art which is not only entertaining but also providing a way of presenting different forms than that commonly used. This form is expected to bring the theatre to a live audience because the audience does not need to go to the venue but the theatre will meet them in public spaces outside stage. Action and direct interaction between the audience and the theatre invite active participation of the audience to feel directly the texts presented by the actors. Although the art forms involving the audience actively have been owned by the community, such as custom ceremonies and other ceremonies, those are rarely renewed, and they remain as customs and tradition. Therefore, inthis process the director tried to present the form of environment theater in a space of “Restaurant” presenting a folklore which had been processed and adapted to today’s society. The ability of the director in directing and providing room for the players to be creative was very important. While players who have skill in their art, they must be ready to confront improvised acts and spontaneous interaction with the audience.Keywords: environmental theater, public space, sirna ilang, intertex.
PENCIPTAAN SKENARIO FILM BERTEMA ANAK AUTIS DALAM PERGAULAN SOSIAL Della Tania Ginting; Philipus Nugroho Hari Wibowo; Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 18, No 2: September, 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v18i2.5718

Abstract

Abstrak: Tujuan penciptaan karya ini adalah sebuah skenario dengan tema tindak asuh pada anak penderita autisme yang dapat mengedukasi masyarakat. Proses ini diharapakan memberikan edukasi terhadap masyarakat tentang penderita autisme, terutama pada tindak asuhnya. Penderita autisme juga memiliki berbagai karakter yang unik dan kadang kala sering berubah-ubah emosinya, hal inilah yang menjadi daya tarik bagi pencipta untuk menuliskannya. Penciptaan skenario Rana Penyesalan adalah susunan yang diwujudkan dalam bentuk naskah lengkap atau skenario lepas yang berdurasi 98 menit. Penciptaan skenario film Rana Penyesalan menggunakan teori struktur tiga babak dengan metode penciptaan kreatif yang dikemukakan oleh Graham Wallas. Penciptaan skenario dengan tema tindak asuh pada anak penderita autisme dengan struktur tiga babak berusaha membuat keterikatan pada penonton, sehingga penonton mudah merasakan  dan menikmati alur cerita. Skenario film ini diharapkan dapat mengedukasi penonton terkait tindak asuh pada anak penderita autisme. Konsistensi yang kuat dalam mempertahankan gagasan awal saat proses menulis cerita menjadi penting, sebab banyak sekali ide baru yang menarik yang cenderung menggoda penulis untuk menyimpang dari gagasan utama yang diangkat. Kata kunci: skenario, edukasi, autisme, struktur tiga babak Abstract: The purpose of this work is to create a scenario with the theme of caring for children with autism that can educate the public. This process is expected to provide education to the public about people with autism, especially in their care. People with autism also have various unique characters and sometimes often change their emotions, this is what attracts the creators to write them. The creation of the Rana Penyesalan scenario is an arrangement that is realized in the form of a complete script or a 98-minutes free-lance scenario. The screenwriter of the film Rana Penyesalan uses a three-act structure theory with the creation method proposed by Graham Wallas. The creation of a scenario with the theme of caring for children with autism with a three-act structure tries to create an attachment to the audience so that the audience can easily feel and enjoy the storyline. This film scenario is expected to educate the audience regarding parenting for children with autism. Strong consistency in maintaining the initial idea during the writing process is important because there are so many interesting new ideas that tempt the writer to deviate from the main idea raised. Keywords: Scenario, education, autism, three-act structure
TRANSFORMASI PERTUNJUKAN WAYANG BEBER JAKA KEMBANG KUNING MENJADI PERTUNJUKAN TEATER PANGGUNG Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): Juni 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i1.3301

Abstract

Abstrak: Secara visual, Wayang Beber tidak lagi memiliki tampilan yang menarik bagi masyarakat saat ini. Hal tersebut menjadi dasar penelitian ini yang bertujuan untuk menyajikan pertunjukan Wayang Beber yang dapat diterima dan diapresiasi keindahannya oleh masyarakat. Wayang Beber perlu diadaptasi menurut standar hiburan saat ini untuk membuatnya menarik bagi masyarakat sekarang. Adaptasi ini dilakukan dengan cara  re-interpretasi isi cerita untuk menyajikan konten yang lebih relevan dan mudah untuk diterima. Dengan menggunakan bentuk pertunjukan Teater Terlibat (Immediate Theatre) yang melibatkan komunikasi secara intim dengan penonton dalam pementasannya, akan dihasilkan sebuah pertunjukan Wayang Beber yang lebih mengakomodasi selera masyarakat saat ini. Kata Kunci: Wayang Beber, tidak menarik, komunikasi intim Abstract: Wayang Beber is no longer visually attractive for the society these days. This becomes the reason for this research's aim to present a more appealing Wayang Beber performance which the aesthethics can be appreciated even by current society. In order to do so, Wayang Beber needs to be adapted according to the recent entertainment standard so it may be well-received. This adaptation is done through re-interpretation of the story that leads to telling a more relevant and easier content for the society. Using Immediate Theatre form, in which audience is directly involved in the stageplay to incite an intimate communication, will result in a Wayang Beber performance that is more accomodating to the society. Key Words: Wayang Beber, unattractive, intimate communication
PENCIPTAAN PERTUNJUKAN VIRTUAL “JOGJA RINDUNYO DENAI” REINTERPRETASI FOLKLOR YOGYAKARTA Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 19, No 1: March, 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v19i1.6115

Abstract

Folklore is part of the culture of a group of people that is disseminated and passed down from generation to generation in oral form or examples accompanied by gestures of reminder aids. As residents of Yogyakarta While waiting in the village, students have the opportunity to articulate interpretations of their folkloric experiences while in Yogyakarta. The experience is articulated by accommodating the cultural elements of their local culture. This creation aims to show how folklore affects the subconscious space of the individual who gets its exposure. The results of the study are expected to be a virtual show that involves interaction between players and players and viewers in an online media. The result is expected to be a virtual performance with the theme of Yogyakarta folklore which is reinterpreted based on different local concepts. This limited online media show is a studio-scale prototype/product/artwork validation Keywords: Folklore, performances, virtual, studio.
PENCIPTAAN PERTUNJUKAN TEATER BANOWATI SANG PELAKOR: SEBUAH IMPLEMENTASI METODE PENYUTRADAAN AUGUSTO BOAL Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 16, No 1 (2019): 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v16i1.3128

Abstract

Abstrak: Penciptaan pertunjukan teater ini dilatari oleh fenomena pelakor yang dewasa ini terasa marak. Penciptaan karya ini menggunakan pendekatan teori interteks dan feminis dalam mengolah kisah naskah. Pemahaman secara intertekstual bertujuan untuk menggali secara bebas makna-makna yang terkandung dalam sebuah teks kisah asmara Putri Banowati kepada Raden Arjuna. Metode dalam proses penciptaan ini menggunakan metode penciptaan yang dikembangkan oleh Boal (2000), yang secara unik merubah penonton (objek) menjadi pemain (subjek). Proses penciptaan ini terbukti mampu menciptakan komunikasi yang unik antara partisipan, aktor, dan pengamat. Hal tersebut bisa dimanfaatkan untuk mendalami sebuah persoalan sosial di masyarakat yang mungkin sulit  diungkapkan terutama pada isu yang berbenturan dengan nilai-nilai dan dianggap tabu pada suatu lingkungan. Kata kunci: Teater, pelakor, Boal, interteks, feminisme Abstract: The creation of this theatre performance is based on issues of people in that has spiked up recently. This creation uses intertext and feminism theoretical approach in arranging the playscript. Intertextual understanding aims to search deeper on the implicit meaning within the romance of Putri Banowati and Raden Arjuna. The method used in the art creation process is the method developed by Boal (2000) that uniquely changes the audience (the object) into actors (the subject). This art creation process is proven to be able to create a unique communication between participant, actors, and observers. Such relationship can be made use for analyzing the social problem in the society that might have been too risque to be openly discussed, especially in the issues considered taboo in a community. Key word: Theatre, affair, Boal, intertext, feminism
Analisis Struktur, Tekstur dan Permasalahan Politis Wayang Beber Jaka Kembang Kuning Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4457

Abstract

Abstrak: Hasil penelitian ini berguna untuk melihat bentuk pementasan serta persoalan yang melingkupi sebuah bentuk kesenian bernama Wayang Beber Panji Jaka Kembang Kuning yang berada di Kabupaten Pacitan, Jawa Timur. Dari penelitian ini kita berharap agar  keberadaan kesenian ini tidak akan hilang meski harus mengikuti perkembangan selera masyarakat yang terus berubah. Salah satu usaha yang ditempuh adalah menuliskan struktur dan tekstur pertunjukan ini. Dengan mengetahui struktur dan tekstur serta persoalan lain yang melingkupi, maka generasi penerus pertunjukan ini tidak terbentur pada persoalan yang  menyebabkan pertunjukan ini semakin dijauhi masyarakat. Dalang atau penyaji pertunjukan bisa menggunakan hasil penelitian ini sebagai pedoman untuk menciptakan pertunjukan yang lebih menarik agar tidak selalu terjebak pada bentuk pertunjukan yang membosankan. Akibatnya penonton akan lebih mudah menikmati dan memahami pertunjukan seni tersebut. Akhirnya Wayang Beber sebagai pertunjukan akan tetap eksis karena mampu hadir dalam konteks masyarakatnya.Kata kunci : Struktur, tekstur, stagnasi, wayang beber, konteks. Abstract: The results of this study are useful for observing the form of performances and issues surrounding an art form called Wayang Beber Panji Jaka Kembang Kuning in Pacitan Regency, East Java.  From this research we hope that the existence of this art will not be lost even though we have to keep up with the changing tastes of society.  One of the efforts taken was to write down the structure and texture of this performance.  By knowing the structure and texture as well as other problems that surround it, the next generation of this show will not run into problems that cause this show to be increasingly shunned by the public.  The puppeteers or performance presenters can use the results of this research as a guideline for creating more interesting performances so they don't always get stuck in boring performances.  As a result, the audience will find it easier to enjoy and understand the art performance.  Finally, Wayang Beber as a show will still exist because it is able to be present in the context of its society.Keyword: structure, texture, stagnation, Wayang Beber, context.
Penciptaan Teater “Jaka Kembang Kuning” Wahid Nurcahyono
Journal of Urban Society's Arts Vol 4, No 2 (2017): October 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v4i2.2164

Abstract

Kesenian Wayang Beber yang terdapat di desa Kedompol, kecamatan Donorojo, kabupaten Pacitan Jawa Timur kurang mendapat sentuhan artistik, sehingga tidak mempunyai kepekaan terhadap konteks zamannya. Kondisi tersebut menjadikan masyarakat Pacitan khususnya, tidak mampu menikmati pertunjukan tersebut secara intens. Selain konteks dan selera yang berubah, pola kerjasama masyarakat juga bergeser dari semangat kebersamaan di pedesaan berubah menjadi pola kerja yang individualis seperti perkotaan. Hal tersebut menjadi salah satu penghalang bagi kesenian ini untuk berkembang sebab hanya dipertunjukkan dalam acara-acara ritual tertentu misalnya bersih desa atau selamatan saja.Untuk itu terobosan perlu dilakukan diantaranya adalah dengan menjemput penonton di ruang publik untuk menyaksikan pertunjukan tradisional ini. Selain itu perlu ada usaha-usaha tertentu untuk memperkenalkan kesenian ini agar tetap mengikuti konteks zamannya. Meskipun berlatarbelakang cerita masa lalu, namun harus mampu diterima oleh masyarakat sebagai bagian mereka sesuai zamannya dengan mengambil beberapa idiom serta peristiwa kekinian.Penciptaan teater Jaka Kembang Kuning adalah usaha untuk mengangkat kembali sebuah ide cerita yang semula disajikan dengan bertutur secara tradisional dalam bentuk pergelaran Wayang Beber yang memiliki berapa kelemahan terutama jika dilihat dari dinamika pertunjukannya yang lemah. Hal tersebut menjadikan kesenian ini tidak bisa menopang kehidupan kebutuhan hidup masyarakat pendukungnya dari sisi ekonomi maupun sosial. Untuk itu perlu adanya beberapa terobosan kreatifitas untuk mempertahankan eksistensinya, diantaranya adalah dengan membuka diri terhadap konteks pemirsanya.Beberapa usaha tersebut diantaranya adalah adengan memasukkan aksi teatrikal, tembang serta musik, warna agar memberikan peluang yang lebih luas bagi munculnya imajinasi di penonton dan rasa ketertarikan mereka pada kesenian ini. Seluruh rangkain pertunjukan akan membentuk teks tersendiri dengan pemaknaan yang terbuka dan lugas. Peran aktif pemirsa sangat dibutuhkan agar tercipta sebuah jalinan yang erat antara seniman, karya cipta serta penikmatnya. Dibutuhkan usaha-usaha yang lebih radikal semisal mengajak penonton menjadi bagian dari sebuah karya seni yang utuh agar menumbuhkan rasa memiliki terhadap kesenian ini.  Creation theater Jaka Kembang Kuning is an attempt to revive an original story idea presented in the form traditionally tells Wayang Beber performances that have how many flaws, especially when viewed from the dynamics of the show. Visually traditional Wayang Beber becomes unattractive when compared with the puppet, puppet show, or other stage plays. This is the reason why Wayang Beber need to get a good touch broadly on the form and meaning of the play contained therein.Theatrical action, song and music, color and composition are used as a means of said stories provide a wider opportunity for the emergence of imagination in the audience. The entire string of performances will form a separate text with an open and straightforward meaning. Active role of the viewer is needed in order to create a strong braid between the artist, the copyrighted work as well as the audience. It takes the efforts to invite more radical audience to be part of an artwork intact. Breakthroughs such as involving the viewer to enter into the process or the show can be a separate option in the lifestyles of people who are too lazy to visit the venue. Invites viewers into direct contact with the expected performances more intimate communication. 
Strategi Penguatan Kreativitas Seniman Ketoprak DIY dari Tahun 1999 hingga Tahun 2009 Yudiaryani Yudiaryani; Wahid Nurcahyono; Sylvia Angreni Purba
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1427.198 KB) | DOI: 10.24821/dtr.v2i2.3313

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
PEMERANAN TOKOH ROBERT DALAM NASKAH A LIFE IN THE THEATRE KARYA DAVID MAMET Kevin Abani; Wahid Nurcahyono; Rukman Rossadi
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 19, No 2: September 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v19i2.8372

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
Co-Authors Della Tania Ginting Kevin Abani Philipus Nugroho Hari Wibowo Rukman Rossadi Sylvia Angreni Purba Yudiaryani Yudiaryani