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All Journal Jurnal Sendratasik Gorga : Jurnal Seni Rupa Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Laga-Laga: Jurnal Seni Pertunjukan Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Besaung : Jurnal Seni Desain dan Budaya Melayu Arts and Performance Journal Creativity And Research Theatre Journal Gestus Journal Jurnal Cerano Seni: Pengkajian dan Penciptaan Seni Pertunjukan
IKHSAN SATRIA IRIANTO
Universitas Jambi
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences

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Irama Tragika dalam Naskah Raja Lear karya William Shakespeare Lusi Handayani; Ikhsan Satria Irianto; Tofan Gustyawan
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.v5i1.3736

Abstract

This tragic rhythm research aims to explore the strategic tragedy and the characteristic Shakespearean Tragedy in William Shakespeare's King Lear. The material object in this study is the King Lear by William Shakespeare translated by Trisno Sumardjo, while the formal object used is Fergusson's Tragic Rhythm theory. The research method used is a qualitative method with data collection techniques, text studies and literature studies. The results achieved in this study are the characteristics of Shakespearean Tragedy in King Lear's consisting of the fall of the king, the omnipotence of destiny and characters who have tragic defects. Meanwhile, the tragic rhythm is found in three stages, the stage of King Lear's obsession, the stage where King Lear encounters obstacles and the stage when King Lear realizes his mistake.AbstrakPenelitian irama tragika ini bertujuan untuk menelusuri strategi tragedi dan karakteristik shakespearean tragedy dalam naskah Raja Lear karya William Shakespeare. Objek material dalam penelitian ini adalah naskah Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo, sedangkan objek formal yang digunakan adalah teori Irama Tragika Fergusson. Metode penelitian yang digunakan adalah metode kualitatif dengan teknik pengumpulan data, yaitu studi teks dan studi pustaka. Hasil yang dicapai dalam penelitian ini adalah karakteristik Shakespearean Tragedy dalam naskah Raja Lear terdiri dari kejatuhan raja, kemahakuasaan takdir dan tokoh yang memiliki cacat tragis. Sedangkan irama tragika ditemukan dalam tiga tahapan, yaitu tahap obsesi Raja Lear, tahap Raja Lear mendapatkan hambatan dan tahap Raja Lear menyadari kesalahannya.
Implementation of Vocal Training Methods from the Stanislavski System in the Kanti Becakap Ikhsan Satria Irianto; Tofan Gustyawan; Lusi Handayani
Gondang: Jurnal Seni dan Budaya Vol 7, No 1 (2023): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2023
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v7i1.48190

Abstract

This vocal training method research is an interpretation of Stanislavski's acting method. This study aims to formulate vocal training methods for actors based on the Stanislavski system. The application of this method is carried out in the Kanti Becakap (Art Community). The material object of this research is "The System" by Stanislavski which is contained in two books, An Actor's Prepares (Translation of Asrul Sani, 1980) and the book Building A Character (Translation of Gramedia Popular Library, 2008). The research method used is a qualitative method with an analytic descriptive approach. The data collection technique used was literature study and the data analysis technique used was inductive analysis. The results of the formulation of the vocal training method from the stanislavski system consist of eight training methods, Vocal Relaxation, Articulation Clarity, Vocal Volume, Musical Dialogue, Swan Neck Intonation, Possibility of Pauses, Accentuation Rules and Instinctive Rhythms. The eight formulations of the vocal training method can be divided into two exercises, namely vocal preparation and dialogue preparation.
Co-Authors Enrico Alamo Hendri Jihadul Barkah Ilham Rifandi Lusi Handayani Lusi Handayani Meria Eliza Nolly Medya Putra Ofa Yutri Kumala Riantoni Pasaribu Saduddin Saaduddin Sri Ramadhanti Susandro Susandro Susandro, Susandro Tofan Gustyawan Yuniarni Yuniarni