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Legenda Penciptaan Teater Boneka Tiongkok dan Persebarannya di Nusantara Hirwan Kuardhani; C. Bakdi Soemanto; Lono Lastoro Simatupang; Timbul Haryono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.451

Wayang Cina berkembang pesat di Indonesia. Beberapa legenda Cina berkembang mengikuti berkembangnyawayang tersebut, misalnya: Legenda Madame Li, legenda Chen Ping, dan legenda Yan. Beberapa lagenda tersebutdibawa oleh imigran Cina ke wilayah Indonesia, seperti Marionette, yang dikenal sebagai wayang gantung , yangdikembangkan di sekitar Pontianak dan Singkawang. Marionette disajikan dalam dialek Hakka dan menyajikanlegenda Cina. Sementara boneka sarung tangan yang dikenal adalah wayang Potehi, tumbuh di Jawa berasal dariFujian, awalnya dalam dialek Hokkian. Dalam perjalanannya, Potehi menggunakan bahasa Melayu Rendah yangmenjadi bahasa Indonesia. Potehi dan Boneka Gantung ( wayang gantung) telah menjadi bagian dari kebudayaanIndonesia. Mereka layak mendapat perhatian lebih dari pemerintah dan masyarakat, terutama pelaku dan pengamatseni.Kata kunci: Wayang Potehi, legenda Cina, marionette, wayang gantung.ABSTRACTThe Chinese Puppet Theatre Legend and Its Spreading in Nusantara. Chinese Puppet Theatre is growingrapidly. Some legends followed to rise Chinese Puppet, for example: Legend of Madame Li, legend of Chen Ping, andlegend of Yan. Some of them were brought by Chinese immigrants into Indonesian territory, such as Marionette, known ashanging puppet (Wayang gantung), which is developed around Pontianak and Singkawang , West Kalimantan Province.Marionette was performed in Hakka dialects and performed Chinese legend. While the glove puppet known is wayangPotehi, grown in Java, originated from Fujian, was originally in Hokkian dialect. In its journey, Potehi used Low Malaylanguage which became bahasa Indonesia. Potehi and Hanging Puppets( wayang gantung) have become parts of ourculture. They deserve more attention from the goverment and public, especially the actors and art observers.Key words: Chinese Puppet theatre, legend, marionette), Glove Puppet ( Potehi / 布袋戲))

Sehu: Dalang Wayang Potehi (布袋戲) di Jawa Hirwan Kuardhani
Wayang Nusantara: Journal of Puppetry Vol 2, No 1 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v2i1.2996

Potehi is a hand-glove puppetry theatre art form, brought by the Chinese emigrant from Fujian in the sixteenth century. It used to be performed in their vessels (Jung-Jung) when they were docked. The Hokkian dialect was used at that time. As more Chinese immigrants settled down in Indonesia, they carried along the Potehi art in Java. Along the way, Potehi ceased to be performed in Hokkien dialect. Instead, it was Melayu Pasar or Melayu rendah (now Indonesian Language) being used, which was indeed the lingua franca among the Chinese community then. Nevertheless songs and poetry were still in Hokkian. Sehu called dalang Potehi. Was originally sehu as Hokkian true, a long the way sehu as Pranakan’s Tionghoa an than in this time sehu from etnic Java. The acculturation with the local society resulted in a very unique Potehi which was different from its original version. Potehi merupakan pertunjukan sarung tangan, yang dibawa para emigran China dari Fujian sekitar abad enam belas. Potehi biasanya dipertunjukkan di Jung-jung atau kapal-kapal mereka ketika sedang mendarat. Mereka menggunakan bahasa Hokkian dalam pertunjukannya. Ketika orang-orang Tionghoa menetap di Indonesia mereka membawa serta kesenian Potehi di Jawa. Pada perkembangannya pementasan Potehi tidak lagi menggunakan bahasa Hokkian melainkan menggunakan bahasa Melayu Pasar atau Melayu Rendah (sekarang bahasa Indonesia), bahasa yang sekaligus menjadi bahasa pengantar kaum Tionghoa saat itu. Walaupun untuk lagu dan syair masih memakai bahasa Hokkian. Sehu merupakan sebutan bagi dalang wayang Potehi. Awalnya sehu adalah orang Hokkian asli, pada perkembangannya adalah orang-orang Peranakan, dan saat ini sehu dari etnis Jawa. Proses akulturasi dengan penduduk setempat membuat pertunjukan Potehi menjadi unik dan berbeda dengan negeri asalnya.

Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow Shinta Kusuma; Hirwan Kuardhani; Rukman Rosadi
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and used the presentation approach to creating the Xiao Mei's character. The creation of this work aims to describe how the actress can portray the character's inner act by using Stanislavski's acting method. In her acting, the actress attains awareness of playing her roles to make the weakness of Xiao Mei's character's strength and uniqueness.Keywords: actor; acting; film

Potehi Puppet (布袋戲) in Java Hirwan Kuardhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

AbstractPotehi (布袋戏) puppet theater in Java is called as Chinese puppet and originated from Fujian (福建) and Guangdong (广东) Province. Chinese puppets that were allegedly meant here is Potehi because the forms of other kinds of puppet theater from China was not discovered the traces. Leather puppet, such as Purwa, or string puppet (marionette), or even Rod puppet is not recognized by the Javanese people, most of them are only familiar with Potehi Chinese puppet. This is confirmed by the data that most Chinese emigrants who came to Java is the Hokkien (Fujian) who owned Potehi puppet theater. Some of Potehi playhouse stage are in the form of permanent building of a brick wall that has been decorated with images of deities or knock -down building which is similar to ronda substations that can be assembled. When Potehi stage is used for shows in pagoda, it will be included in the playhouse stage. It is different if the shows take place outside the pagoda, such as in malls, galleries, churches, festivals and so on, then it will be without the playhouse stage. Potehi stage shaped like a castle building with division of imaginary spaces. The upper part is the sky or deities’ palace, and the bottom is the human castle. It can also be interpreted as two natures; macrocosm and microcosm. The Sky Palace keep supervising the administration of human castles that have been mandated to regulate human. General grip of Potehi Puppet Theatre in Java includes: material story and a common way of presenting the general grip of the story of Potehi Puppet Theatre in Java that include: materials and way of presenting sequence actions stories that are taken by sehu and the board of pagoda when holding Potehi show in pagoda are as follow: 1 Sehu prepares the figures. 2. Sehu with Lauw Cu (the board of pagoda) perform Puak Poe rituals. 3. Sehu prepare the staging equipment. 4. The show is based on the agreed time with pagoda sides. Potehi shows for the Chinese community carry out ritual, social, and educational functions.Keywords: puppet theater; Potehi; Javanese performanceAbstrakWayang Potehi di Jawa. Teater Boneka Potehi di Jawa disebut sebagai pertunjukan boneka Cina yang berasal dari Provinsi Fujian dan Guandong. Diduga pertunjukan Potehi datang ke Pulau Jawa pada abad ke-16. Wayang Potehi dikenal sebagai wayang Cina karena bentuknya tidak ditemukan di wilayah Jawa. Wayang kulit di Jawa sama dengan wayang Purwa, wayang bertangkai di Jawa dikenal dengan wayang golek. Teater boneka Potehi dibawa para emigran Hokkian (Fujian) ke Jawa, dan dimainkan pada panggung permanen ataupun panggung yang berpindah. Ketika pertunjukan Potehi dimainkan di Kelenteng, digunakan stage yang permanen berbentuk rumah-rumahan. Hal demikian berbeda dengan pertunjukan yang dimainkan di luar Kelenteng, seperti di mal, galeri seni, gereja, atau festival-festival. Panggung Potehimerupakan perwujudan simbol dunia, yakni paling atas adalah istana langit yangmerupakan tempat para dewa, sementara bagian bawah adalah istana manusiabiasa atau tempat masyarakat biasa. Hal tersebut dapat digambarkan sebagaialam makrokosmos dan alam mikrokosmos. Secara keseluruhan, pementasanPotehi di Jawa masih mengikuti patokan, lakon, tatacara Potehi asalnya, yaitu:1. Sehu atau dalang menyiapkan lakon dan mengajukan judul lakon yang akandibawakan. 2. Sehu bersama Lauw Cu (petugas upacara) melakukan ritual PuakPoe. 3. Sehu mendapatkan persetujuan mengenai lakon yang akan dibawakan. 4. Pertunjukan digelar berdasarkan lakon yang telah disetujui dewa. PertunjukanPotehi bagi komunitas masyarakat Tionghoa membawa serta fungsi sosial, ritual,dan pendidikan.Kata kunci: teater boneka; Potehi; pertunjukan Jawa

PENCIPTAAN NASKAH DRAMA TIGA WANITA TERINSPIRASI DARI FENOMENA GENERASI SANDWICH Ivanka Yenny Septiyani; Hirwan Kuardhani; Nanang Arisona
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

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Tiga Wanita adalah naskah lakon yang terinspirasi dari fenomena generasi sandwich. Penciptaan naskah lakon Tiga Wanita menggunakan teori dramaturgi. Kemudian didukung oleh teori dimensi karakter Lajos Egri dan teori struktur Kernodle. Penciptaan naskah lakon Tiga Wanita bertujuan untuk menghasilkan karya baru yang terinspirasi dari generasi sandwich. Penulis menggunakan metode Graham Wallas yang dimulai dengan mencari data-data serta informasi terkait generasi sandwich, pengolahan ide, membuat sinopsis, treatment, penulisan naskah lakon, reading, kemudian tahap pengujian dramatic reading sebelum penyempurnaan naskah.Hasilnya berupa naskah Tiga Wanita, mengisahkan tentang seorang wanita yang terkena dampak generasi sandwich. Menempatkan Lusi sebagai tokoh utama yang merupakan seorang wanita yang bekerja sebagai buruh pabrik harus menghidupi orang tua tunggal dan anak tunggalnya sendirian. Lusi juga korban pemerkosaan, kemudian anaknya dibully karena miskin. Melihat kesengsaraan dalam kehidupannya membuat Lusi gelap mata dan memilih untuk membunuh keluarganya dan dirinya sendiri. The Creation of the Drama Script Tiga Wanita Inspired by the Sandwich Generation PhenomenonTiga Wanita is a play script inspired by the sandwich generation phenomenon. The creation of the Three Women play script utilizes dramaturgy theory, supported by Lajos Egri's character dimension theory and Kernodle's structural theory. The creation of the Three Women play script aims to produce a new work inspired by the sandwich generation.The writer employs Graham Wallas' method, which begins by gathering data and information related to the sandwich generation, processing ideas, creating a synopsis, treatment, writing the play script, conducting readings, and then testing dramatic reading before refining the script.The result is the ‘Tiga Wanita’ script, which depicts the story of a woman affected by the sandwich generation. Lusi is portrayed as the main character, a factory worker who must support her elderly parents and her only child alone. Lusi is also a victim of rape, and her child is bullied due to their poverty. Witnessing the hardships in her life, Lusi becomes overwhelmed and chooses to kill her family and herself.

Analisis Film Tiga Dara Tahun 1956 Karya Usmar Ismail: Pandangan Politiknya dan Kajian Unsur Male Gaze Arisanti Marella; Hirwan Kuardhani; Yudiaryani Yudiaryani
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 18, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

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

Tiga Dara merupakan sebuah film tahun 1956 yang disutradarai oleh Usmar Ismail, yang menceritakan tentang kisah asmara tiga bersaudara perempuan. Film telah dikenal sebagai media hiburan sejak jaman dahulu, film memiliki sejarah yang berpengaruh dalam kemajuan film di Indonesia. Pengaruh patriarki jaman dahulu sangat kental yang dapat menciptakan pandangan pria dalam industri film baik pengkaryaan di balik layar dan di depan layar. Penelitian ini menggunakan teori film yang di bagi menjadi dua yaitu unsur naratif dan unsur sinematik. Teori male gaze merupakan teori yang dicetuskan oleh Laura Mulvey. Male gaze muncul karena adanya pandangan mengenai sudut pandang pria dalam dunia film, tatapan pria muncul karena pengaruh patriarki yang melihat kekuasaan pria sehingga terlihat penggambaran mengenai perempuan dalam film. Film Tiga Dara menjadi contoh film yang dibuat sebagian besar pengkaryaan di depan maupun di balik layar yang di dominasi oleh pria yang akan berpengaruh dalam pandangan pria terhadap perempuan. Penelitian ini bertujuan untuk melihat pandangan pria dalam film Tiga Dara. Analysis of the 1956 film Tiga Dara by Usmar Ismail: political views and study of male gaze element.Tiga Dara is a 1956 film directed by Usmar Ismail, Tiga Dara tells the story of the romance journey of three sisters, film has been known as an entertainment medium since antiquity, film has an influential history in the progress of film in Indonesia. The influence of patriarchy in the past is very thick which can create a male view in the film industry both behind the scenes and in front of the screen. This research uses film theory which is divided into two, namely narrative elements and cinematic elements The male gaze theory is a theory coined by Laura Mulvey, the male gaze arises because of the view of the male point of view in the world of film, the male gaze arises because of the influence of patriarchy that sees male power so that there are depictions of women in the film. Tiga Dara is an example of a movie that was made mostly in front of and behind the scenes dominated by men, which will affect men's views on women. This study aims to look at men's views in Tiga Dara movie

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