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All Journal Melayu Arts and Performance Journal Bercadik: Jurnal Pengkajian dan Penciptaan Seni

Sahrul Sahrul

Institut Seni Indonesia Padangpanjang

Author-ID : 3404065

Arts Humanities Languange, Linguistic, Communication & Media

Published : 6 Documents Claim Missing Document

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Articles

KABA SABAI DALAM PERTUNJUKAN TEATER “PRAY FOR SABAI” Dedi Darmadi; Koes Yuliadi; Sahrul Sahrul
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Drama or theater is one part. The term of drama is more focused on the literary elements (manuscript, text, story elements), while the term of theater points out the issues on staging/presentation (performing arts and acting). In theatrical performance “Pray for Sabai,” it discussed about a daughter’s revenge for her father’s death. This theme was depicted on the conflicts emerging in the story. The first conflict was when Rajo Nan Panjang intended to propose Sabai Nan Aluih. The second conflict was when Rajo Nan Panjang’s proposal was rejected by Sabai Nan Aluih’s father, Rajo Babandiang. This lead to a fight between Rajo Nan Panjang and Rajo Babandiang that resulted on the death of Rajo Babandiang. Her father’s death made Sabai exacting a revenge on Rajo Nan Panjang. This issue provided an understanding on the morale and ethics of a daughter in Minangkabau namely a woman who fought to defend her family’s dignity and pride from the person who has killed her parent. The reflection of Sabai’s attitude gives perspective on the morale and ethics of Minangkabau people’s life at that time.

REALITAS SOSIAL MINANGKABAU DALAM PERTUNJUKAN TEATER “CADIK PATAH” Fitri Noveri; Koes Yuliadi; Sahrul Sahrul
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 1 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Cadik Patah play is a play inspired by Minangkabau people’s reality in West Sumatra highland namely Lima Puluh Kota district. This search is inspired from many domestic conflicts occurred in Minangkabau as the result of kinship pattern in the household namely conflict happened between married children’s families with their parents (parents in law) as the result of the existence of several household heads in one nuclear family.Besides being inspired by those things above, Cadik Patah play is also materialized into tragicomedy drama namely the combination of tragedy drama and comedy-drama. The content of its story consists of sadness and humor/jokes that entertain audiences. Story told has serious conflict and funny humorous scenes that decrease tension. In the following scene, the tension of story conflict improves so drama becomes more exciting and attractive and then the audiences want to enjoy it continuously.Cadik Patah script is then believed to take hyperrealist style. Hyperrealist intended by the authors is that in the making of this drama, authors will look for objects that are interesting in object material itself. Although this style is influenced by instrumental theater or environmental theater, it can be observed that both of them have differences. If instrumental theater is the theater inspired by ritual or it uses available instruments, the style called as hyperrealist by the author still applies the strict arrangement of the dramatic plot like in realist plays. It is just that the author tries to explore the smallest object into an interesting theme to be discussed by characters in Cadik Patah play. Keywords: Drama, Cadik Patah, Social Reality, Tragicomedy.

KRITIK BUDAYA MINANGKABAU DALAM FILM DI BAWAH LINDUNGAN KA’BAH Diniya Khairani Aisya; Yusril Yusril; Sahrul Sahrul
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 4, No 2 (2017): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Minangkabau culture is one of the oldest cultures in Indonesia. Minangkabau has rules that organize its people called as custom. Custom in Minangkabau is custom that philosophizes to nature because, in Minangkabau, existing customs can be altered such as nature that is always dynamic. However, there are certain parts of Minangkabau that cannot be altered. Minangkabau culture is an interesting culture to become the background of the story in the film. One of the films using Minangkabau as the background of its story is the film “Di Bawah Lindungan Ka’bah.” The film “Di Bawah Lindungan Ka’bah” is a film adapted from a novel with the same title. When watching a film, viewers will be presented pictures related to setting; acting and actors’ movement; costume and make-up, and lighting. Those four things are elements found in mise-en-scene. Mise en scene in a film determines many things such as viewers’ understanding of story delivered in the film. The mise en scene of the film “Di Bawah Lindungan Ka’bah” uses many Minangkabau elements such as rumah gadang, baju kuruang basiba (= basiba long dress), and surau. However, not all of those Minangkabau elements are accordingly suitable to describe Minangkabau culture in this film. Keywords: Minangkabau, Film, Di Bawah Lindungan Ka’bah, Mise-en-scene

BAYANG DI BALIK TIANG: REINTERPRETASI ATAS NOVEL SITI NURBAYA KARYA MARAH ROESLI Rusel Akbar Fauzi; Sahrul Sahrul; Nurhaida Nuri
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 2 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Theater of Bayang di Balik Tiang (Shadow behind the Pole) is a reinterpretation of novel Siti Nurbaya by Marah Roesli. This novel tells a miserable romance between Siti Nurbaya and Samsul Bahri. This story was started with these lovers’ relationship that’s ultimately blocked by the proposal of a panghulu kaum (headman) in Minangkabau named Datuk Maringgih. Siti Nurbaya, who never wishes to be Datuk Maringgih’s wife, eventually had to accept the proposal due to the debts her father owed to Datuk Maringgih. Siti Nurbaya accepted Datuk Maringgih’s Proposal because she was the only who could save her family’s economy, which underwent a bankruptcy.The creation of Bayang di Balik Tiang theater was started with the play arrangement. The fundamental difference between Siti Nurbaya and this play was the presence of mamak (mother’s brothers) character in this work, who could be deemed guilty of Siti Nurbaya’s miserable fate. The creator of this work also provided objective nationhood senses by reinterpreting characters in the roman like Datuk Maringgih, Samsul Bahri, Siti Nurbaya, and the emergence of new characters besides Mamak Angku Palo, namely Hanafi as Samsul Bahri’s friend. Those characters functioned as “dialectical space” in understanding the meaning of love, either love between opposite sexes or love towards one another or love towards the homeland. This play was arranged in montage way namely a narrative storyline using fast-and-mobile-ordered scenes. The space and the time wee created in a random and leaping order. The plot arranged was not linear. Keywords: Theater, Siti Nurbaya Novel, Mamak, Montage

KARAKTER PUTRI KENANGA DALAM LAKON KEANGKUHAN KARYA JONHAR SAAD DALAM PERTUNJUKAN DULMULUK DI PALEMBANG Fitria Fitria; Sahrul Sahrul; Andar Indra Sastra
Bercadik: Jurnal Pengkajian dan Penciptaan Seni Vol 3, No 1 (2016): Bercadik: Jurnal Pengkajian dan Penciptaan Seni
Publisher : Institut Seni Indonesia Padang Panjang

ABSTRACT Character is temperament or habit. According to psychologist, character is a system of belief and habit that leads on an individual’s action. If knowledge about someone’s character can be known, how that someone will behave in certain conditions can also be known.The story of Princess Kenanga’s arrogance was started with the story of King and Queen of a country who had a very beautiful and smart daughter whose name’s Princess Kenanga. The beauty of this princess was renowned throughout the country but unfortunately this princess had arrogant and haughty natures.Princess Kenanga in the play “Keangkuhan (=Arrogance)” had evil characteristics because in her every appearance, she showed bad attitudes such as speaking harshly and doing action that’s not supposed to be done by a princess toward her folk and people. In the story of play “Keangkuhan (=Arrogance),” Princess Kenanga act abusively toward her folk.Keywords: Arrogance, Dulmuluk, Theater

IDEOLOGI CAPAIAN ESTETIK DALAM PERTUNJUKAN TEATER MUHAMMAD KAFRAWI Fitri Rahmah; Andar Indra Sastra; Sahrul Sahrul
Melayu Arts and Performance Journal Vol 2, No 1 (2019): Melayu Art and Performance Journal
Publisher : Pascasarjana Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/mapj.v2i1.707

AbstrakTulisan ini merupakan hasil analisis terhadap pertunjukan teater Hang Kafrawi dengan pendekatan ideologi capaian estetik. Kajian diarahkan pada motif penciptaan pertunjukan teater yaitu untuk apa dan untuk siapa pertunjukan teater diciptakan. Metodologi penciptaan teater yaitu bagaimana pertunjukan teater itu diciptakan. Fungsi pertunjukan yaitu bagaimana pertunjukan teater tersebut berperan dalam konstelasi sosial budaya. Tujuan pertunjukan yaitu cita-cita apa yang akan diraih atau dunia ideal macam apa yang hendak diwujudkan.Hasil dari penelitian ini adalah pertunjukan Hang Kafrawi mengusung unsur-unsur kemanusiaan yang terus diperjuangkan. Banyak nilai-nilai pendidikan dalam pertunjukan-pertunjukan Hang Kafrawi. Pertunjukan teater karya Hang Kafrawi selalu berorientasi dalam menyuarakan hubungan kelas dominan dan kelas subordinat yang kepentingannya sering kali dikesampingkan

Co-Authors Andar Indra Sastra Dedi Darmadi Diniya Khairani Aisya Fitri Noveri Fitri Rahmah Fitria Fitria Koes Yuliadi Koes Yuliadi Nurhaida Nuri Rusel Akbar Fauzi Yusril, Yusril

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