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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) MUDRA Jurnal Seni Budaya Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT GETER : Jurnal Seni Drama, Tari dan Musik Creativity And Research Theatre Journal
Tatang Rusmana
Jurusan Teater. Fakultas Seni Pertunjukan, Institut Seni Indonesia Padangpanjang
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Kidung Jaka Bandung TATANG RUSMANA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.461

Abstract

The Creation of Jaka Bandung Play. Jaka Bandung Play is created from a legend using Malabar Kingdom andBandung Lake as its story backgrounds. The name of the kingdom has been changed into Datarluhur Pangulinganfor the sake of the play. The story depicts the human existence of Parahyangan represented by Rahiang JakaBandung. The play is approached by using particular technique of directing, so called “verbal arts”. Its presentationon stage relies on beauty, hyper reality, theatricality and new theater codes.
IMPLEMENTASI NILAI-NILAI KONSEP “TRITANGTU SUNDA” SEBAGAI METODELOGI PENCIPTAAN TEATERKONTEMPORER Tatang Rusmana
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT No 2 (2017): Seni, Teknologi, dan Masyarakat #2
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

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

Abstract

Tritangtu Sunda is a living philosophy of traditional Sundanese people including in Bandung regency. Having three important meanings of the division of the world, the three worlds are Buana Nyungcung (Upper world), Buana Larang (Underworld), and Buana Pancatengah (Middle world). The Sundanese Tritangtu is the perspective of the unification of the three worlds in peasant life. The union is the marriage of Buana Nyungcung with Buana Larang, and Buana Pancatengah is the one that unites it. The concept of the Sundanese Tritangtu influences the art of Wawacan speech that is commonly displayed into the art of Beluk. Wawacan is what helped shape the collective minds of the Sundanese people. Wawacan which is the source of dissertation research is “Wawacan Nata Sukma” written anonymously by Banjaran society, Regency of Bandung in 1833 AD (19th century) during “Cultuurstelsel” to grow coffee in Pangalengan. Sunda Tritangtu will function as a method of theater- based theater of contemporary theater. This research uses Isser’s reception theory, to actualize the work in different ways. There is no single correct interpretation (Culler, 2003). George Land’s approach of transformation theory, defined as a new creation or a change to a new form both function and structure. “To transform”, creating a new, unprecedented creation, transformation can mean a change of “mindset”. The research method used Schechner (2002) and mise en scene method formulated by Patrice Pavis.
PENCIPTAAN TEATER DAN PERLINDUNGAN HAK CIPTA Tatang Rusmana
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 18, No 1 (2016): Ekspresi Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1590.304 KB) | DOI: 10.26887/ekse.v18i1.8

Abstract

Theater is a human’s creation in the field of art that has economic value. Any kind of theater needs to get the protection of copyright. Law number 19 year 2002 about the copyright is the law product that gives protection and appreciation for human’s creativity in science, art, and literature. The artists of theater as the creators are the subject of copyright law who has exclusive rights to announce or multiply their creations and those exclusive rights include the rights of economy and moral. The understanding and awareness about this copyright tend to be ignored by the artists of theater particularly in Indonesia in which the creations of theater with various artistic forms achieved from their artists’ creativities develop significantly. They need to be given a protection through the existence of copyright law. Therefore, the socialization of Copyright Law year 2002 to the circle of theater artists is an urgent matter to be done because those artists who are the subject of this copyright law do not fully understand about it.
Rekontruksi Nilai-Nilai Konsep Tritangtu Sunda Sebagai Metode Penciptaan Teater Ke Dalam Bentuk Teater Kontemporer Tatang Rusmana
Mudra Jurnal Seni Budaya Vol 33 No 1 (2018): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v33i1.314

Abstract

Konsep filosofi Tritangtu Sunda, sebagai falsafah hidup masyarakat Sunda di Kabupaten Bandung. memiliki tiga makna penting tentang pembagian dunia, tiga dunia itu yakni Buana Nyungcung (Dunia Atas, simbolnya; Langit, Air, dan Perempuan), Buana Larang (Dunia Bawah, simbolnya; Bumi, Tanah, dan Laki-laki), dan Buana Pancatengah (Dunia Tengah, simbolnya; Batu, Manusia, Laki-laki dan Perempuan). Tritangtu Sunda merupakan perspektif penyatuan tiga dunia dalam kehidupan masyarakat petani. Penyatuan tersebut yaitu perkawinan Buana Nyungcung dengan Buana Larang, dan Buana Pancatengah-lah yang menyatukannya. Konsep Tritangtu Sunda berpengaruh terhadap seni tutur Wawacan yang lazim ditampilkan ke dalam Seni Beluk. Wawacan inilah yang ikut membentuk pikiran kolektif masyarakat Sunda. Wawacan yang menjadi sumber penelitian disertasi ini adalah “Wawacan Nata Sukma” yang ditulis anonim oleh masyarakat Banjaran, Kabupaten Bandung tahun 1833 M (abad ke-19) dalam masa “tanam paksa” untuk menanam kopi di Pangalengan. Tritangtu Sunda  akan difungsikan sebagai perangkat penciptaan seni teater berbasis teater kontemporer (terutama penyutradaraan). Penelitian menggunakan penajaman teori resepsi Isser, untuk mengaktualisasikan karya dengan cara yang berbeda, karena tidak ada tafsir tunggal yang benar (Culler, 2003). Pendekatan lain pendapat George Land dari teori transformasi, diartikan sebagai sebuah kreasi baru atau perubahan ke bentuk yang baru baik secara fungsi maupun strukturnya. “To transform”, berarti mengkreasikan yang baru yang belum pernah ada sebelumnya, transformasi juga bisa berarti perubahan “polapikir”. Perangkat penelitian menggunakan metoda yang disarankan Schechner (2002 dan 2004) dan metode mise en scene yang dirumuskan oleh Patrice Pavis. The concept of the Sunda Tritangtu philosophy, is the life philosophy of the Sundanese community including in Bandung regency. Derived from this philosophy are three important meanings of the division of the world, the three worlds are Buana Nyungcung (Upper  world, its symbols: Heavens, Water, and Woman), Buana Larang (Underworld, symbols; Earth, Land and Man), and Buana Pancatengah (Middle world, symbol: Stone, Man, Man and Woman). The Sundanese Tritangtu is the perspective of the unification of the three aforementioned worlds in peasant life. The union is the marriage of Buana Nyungcung with Buana Larang, and Buana Pancatengah is the one that unites it. The concept of the Sundanese Tritangtu influences the art of Wawacan speech that is commonly integrated into the art of Beluk. Wawacan is a contributing factor in what helped shape the collective minds of the Sundanese people. Wawacan, which is the source of this dissertation research, is "Wawacan Nata Sukma”, written anonymously by Banjaran society, Regency of Bandung in 1833 AD (19th century) during "Cultuurstelsel" to grow coffee in Pangalengan. Sunda Tritangtu functions as a tool for the creation of theater based contemporary theater modalities (especially directing). This research uses Isser's reception theory, to actualize the work in different ways. There is no single correct interpretation (Culler, 2003). Another approach of George Land's opinion of the theory of transformation, defined as a new creation or change to a new form both in function and structure. "To transform", means creating a new one that has never existed before, transformation can also mean a change of "mindset". The research used Schechner's method (2004 and 2004) and the mise en scene method formulated by Patrice Pavis.
Drama DRAMA MUSIKAL: PETER AND THE WOL Karya Sergie Prokofiev,Op.67, Sebagai Bentuk Orchestrasi Dongeng: Pendahuluan Tatang Rusmana
GETER : Jurnal Seni Drama, Tari dan Musik Vol 5 No 2 (2022): Oktober 2022
Publisher : Jurusan Sendratasik FBS Unesa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/geter.v5n2.p1-17

Abstract

Peter And The Wolf (A Symphonic tale for Children) by Sergei Prokofiev, Op. 67, written by Prokofiev in 1936. The performance of this tale is like a monologue drama. It is rare to find a tale performance or a monologue drama that is composed with music in an ensemble. The narrator tells a children's story, while the orchestra illustrates it using different instruments to play a "theme" representing each character. This work of Prokofiev is one of the works that is often featured throughout the classical repertoire. The storyline is kind of like a Prokofiev biography, depicting Russians living in forest areas. In their cosmic view, the theme "Peter catches the wolf" has the meaning of "man's victory tames Nature". In addition to messages of kindness about vigilance, courage, and resourcefulness, there are also images of the stubborn old Soviet generation (grandfather) and the message of the victory of Man (Peter) in taming Nature (Wolf). Peter and The Wolf are well written score. The interesting thing, it is written in the form of a symphony orchestra, besides having an epic storyline in the spectacle of heroic stories. The theory used from the analysis process to the performance is (deep structures) Richard Schechner in three stages of work, namely: 1). Preparation, 2). Performances, 3). Aftermath. The purpose of research and performance is to find concretization of receptions and concretization of dramaturgy. When the performance transformation is carried out in an Indonesian-language presentation, it is hoped that it will be able to provide semiotic novelty to the target culture for an explanation of the development of Indonesian musical dramas.
Dinamika Institusi Pendidikan Seni: Antara Pendidikan Formal Dan Perkembangan Praktis Berkesenian Di Indonesia Tatang Rusmana; Yuniarni Yuniarni
Creativity And Research Theatre Journal Vol 5, No 1 (2023): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v5i1.3713

Abstract

Science and art provide humanity on complementary paths. Both contain creative thinking and problem solving. Science seeks answers to questions about the external, physical world; the answer to this forms the basis of our present technological progress. While art depicts the development of our inner world namely; intuitive, emotional, spiritual and creative aspects of human beings. The real world is explained through science and revealed through works of art. Humans need both science and art if they balance function with the meaning of life. Art is an activity that occurs by the process of "cipta - rasa - karsa". Cipta, in art, contains an integrated meaning between creativity, invention, and innovation which is strongly influenced by "sense" (emotion and feeling). Rasa, arises because of the impulse of instinct which is called "karsa". Karsa, can be personal or collective, depending on the environment and culture of society (But Muchtar, 1985).AbstrakIlmu pengetahuan dan seni menyediakan manusia pada jalan yang saling mengisi. Keduanya mengandung fikiran kreatif dan pemecahan masalahnya. Ilmu pengetahuan mencari jawaban terhadap pertanyaan tentang aspek luar, dunia fisika; jawaban untuk ini menjadi bentuk dasar dari kemajuan teknologi kita sekarang. Sementara seni menggambarkan perkembangan dari dunia dalam kita yakni; intuisi, emosional, spiritual dan aspek kreatif dari manusia. Dunia nyata dijelaskan melalui ilmu pengetahuan dan diungkap melalui karya seni. Manusia membutuhkan keduanya yaitu ilmu pengetahuan dan seni apabila mereka menyeimbangkan fungsi dengan arti kehidupan. Seni merupakan kegiatan yang terjadi oleh proses “cipta - rasa - karsa”. Cipta, dalam seni mengandung pengertian terpadu antara kreativitas (creativity), penemuan (invention), dan inovasi (inovasion) yang sangat dipengaruhi oleh “rasa” (emotion and feeling). Rasa, timbul karena dorongan kehendak naluri yang disebut “karsa”. Karsa, dapat bersifat personal atau kolektif, tergantung dari lingkungan serta budaya masyarakat (But Muchtar, 1985).  Ilmu pengetahuan dan seni menyediakan manusia pada jalan yang saling mengisi. Keduanya mengandung fikiran kreatif dan pemecahan masalahnya. Ilmu pengetahuan mencari jawaban terhadap pertanyaan tentang aspek luar, dunia fisika; jawaban untuk ini menjadi bentuk dasar dari kemajuan teknologi kita sekarang. Sementara seni menggambarkan perkembangan dari dunia dalam kita yakni; intuisi, emosional, spiritual dan aspek kreatif dari manusia. Dunia nyata dijelaskan melalui ilmu pengetahuan dan diungkap melalui karya seni. Manusia membutuhkan keduanya yaitu ilmu pengetahuan dan seni apabila mereka menyeimbangkan fungsi dengan arti kehidupan. Seni merupakan kegiatan yang terjadi oleh proses “cipta - rasa - karsa”. Cipta, dalam seni mengandung pengertian terpadu antara kreativitas (creativity), penemuan (invention), dan inovasi (inovasion) yang sangat dipengaruhi oleh “rasa” (emotion and feeling). Rasa, timbul karena dorongan kehendak naluri yang disebut “karsa”. Karsa, dapat bersifat personal atau kolektif, tergantung dari lingkungan serta budaya masyarakat (But Muchtar, 1985).
Co-Authors Yuniarni Yuniarni