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Surya Farid Sathotho
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Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta
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Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang
Published by Institut Seni Indonesia Yogyakarta
ISSN : 25025880     EISSN : 26866027     DOI : https://doi.org/10.24821/dtr.v4i2
Core Subject : Humanities, Art,
Arts Humanities
Dance & Theater Review (DTR) is a journal published in May and November, hosted by the Faculty of Performing Arts of Institut Seni Indonesia Yogyakarta. It is firstly published in May 2018. Journal of DTR contains any results of research and creation of dance, theatre, and wayang as well as performing arts education.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 4, No 1: May 2021" : 5 Documents clear
Pengelolaan Pertunjukan Teater di Jakarta tahun 1972 hingga tahun 2017 Deden Haerudin
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (722.065 KB) | DOI: 10.24821/dtr.v4i1.4396

Abstract

Pertunjukan teater dimaknai sebuah pengomunikasian gagasan dan pemikiran seniman melalui pertunjukan. Meskipun dalam proses pengomunikasian tersebut dibatasi oleh sejumlah batasan kekuasaan. Penelitian ini bertujuan untuk mengetahui pengelolaan pertunjukan teater pada kegiatan Festival Teater Jakarta kurun waktu 1972 hingga 2017. Penelitian ini dilaksanakan dengan menggunakan metode studi kasus kesejarahan. Data penelitian dikumpulkan melalui dokumen dan wawancara untuk selanjutnya dikategorikan dan dianalisis untuk menemkukan sejumlah temuan. Temuan penelitian tersebut selanjutnya divalidasikan dengan teknik validasi triangulasi sumber data yang menyinkronkan sejumlah sumber data pada temuan penelitian. Penelitian ini mengungkap bahwa pengelolaan pertunjukan teater pada kegiatan FTJ mengadaptasi kebijakan pemerintah yang berwenang ditandai dengan dua periode (periode 1972-2000 dan periode 2000-2017) dengan memerhatikan kebutuhan dan potensi daya ungkap para kalangan seniman. FTJ telah menjadi magnet bagi para pegiat teater untuk mendapatkan pengakuan sebagai kelompok teater. Meskipun, tak sedikit kelompok teater yang membubarkan diri pasca mengikuti kegiatan FTJ. Penelitian ini merekomendasikan topik penelitian selanjutnya untuk mengungkap pengelolaan teater pasca partisipasi kegiatan FTJ.
PERANCANGAN PERTUNJUKAN OPERA MINANGKABAU MALIN NAN KONDANG SEBAGAI ALIH WAHANA KABA MALIN KUNDANG EDY SUISNO; ISWANDI ISWANDI; R.M PRAMUTOMO; LILI SUPARLI; NOVESAR JAMARUN
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v4i1.4373

Abstract

Perancangan Pertunjukan Opera Minangkabau Malin Nan Kondang sebagai Alih Wahana KabaMalin Kundangadalah proses penciptaan pertunjukan Opera Minangkabau yang bertitik tolak dari penafsiran ulang kaba Malin Kundang. Proses penciptaan pertunjukan Opera Minangkabau tersebut, diawali dari sebuah riset terhadap berbagai penafsiran atas kaba Malin Kundang sebagai titik tolak terbentuknya penafsiran baru atas kaba tersebut..Penafsiran baru tersebut kemudian dikreasi untuk menghasilkan bentuk lakon baru, yang kemudian diberi judul Malin Nan kondang.Lakon baru inilah yang menjadi pijakan dalam perancangan pemanggungan (spektakel) yang mencirikan sebuah pertunjukan Opera Minangkabau.Penuangan tersebut merupakan bentuk perancangan yang dimulai dari analisis lakon, pembuatan adegan demi adegan dan penempatan aspek pendukung opera yang meliputi gerak, dendang dan penghayatan seni peran. Aksentuasi opera diwujudkan dengan penggunakan ragam seni tradisi Minangkabau bagi kebutuhan perancangan Opera Minangkabau secara keseluruhan. Aksentuasi itu meliputi dialog dengan dendang, penggunaan koreografi dan paduan suara dan dialog yang berbentuk puisi.Kata kunci : Kaba Malin Kundang; Lakon Malin Nan Kondang; Opera Minangkabau
Tinular Tutur : Audio Drama Media Counter Hegemony Ruler of The New Order (Analysis of Critical Discourse) Purwanto Lephen
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (774.6 KB) | DOI: 10.24821/dtr.v4i1.4977

Abstract

The heyday of the 1980-1990 audio drama created by the Sanggar Cerita and the Teater Sanggar Prativi, Jakarta, Indonesia, was an industrial production of drama initiatives synergize between drama creators, pharmaceutical companies and herbal medicine as sponsors, and private radio companies that broadcast them. The productivity of audio drama works in the New Order era reached dozens of titles; some audio drama works produced up to 720 series or 24 episodes for two years broadcast. The audio drama Tutur Tinular by S. Tidjab uses history in Java (Singasari, Kediri, Majapahit) as a source of creation. Critical Discourse Analysis used (Norman Fairclough) is used to reveal texts, practices of discourse. Between social practices were resulting in the finding that in the audio drama, Tutur Tinular contains the behaviour of kings (rulers), royal authorities (patih, warlords), warriors (good people), criminals (bad people), and persecuted people. In the power New Order era, audio drama, which was considered an entertainment media and educational history of nationalism, was a media of resistance of the New Order military rulers.  It contained the rulers' behaviour and soldiers who oppressed their people, but it never received a reprimand and a ban on the authorities until the regime subsided.Keywords: drama audio, counter-hegemony, critical discourse        
Situs Megalitik Tutari sebagai Sumber Inspirasi Penciptaan Koreografi Site-Specific “Tutari MegArt Lithic” Sri Rustiyanti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1348.493 KB) | DOI: 10.24821/dtr.v4i1.5457

Abstract

The Tutari Megalithic Site is a large stone age civilization site located in Doyo Lama Village, Waibu District, Jayapura Regency, Papua. Visually, on this site, there are stones with various motifs of prehistoric paintings on them. However, if it is studied in-depth, primarily through the perspective of choreography, this site has a broad potential to be a source of inspiration for creating works of art. Collaborating with previous research from the Papua Archeology Center, the creation of this Tutari MegArt Lithic artwork is focused on specific parts of the Tutari Megalithic site that can be used as inspiration for creating artworks. The method used in this writing is descriptive analysis. The purpose of this paper is to provide an overview of how choreography can collaborate across disciplines in the creation of works of art staged at the Tutari archaeological site. This paper describes the sources of inspiration for creating site-specific choreographic works of art entitled Tutari MegArt Lithic, including visual inspiration, artistic inspiration and idea inspiration.Keywords: Tutari Megalithic Site; site-specific choreography; source of inspiration; painting motive
Relasitas Lakuan Wayang dengan Iringan Gamelan Gagrag Yogyakarta Kasidi Hadiprayitno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 1: May 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (792.863 KB) | DOI: 10.24821/dtr.v4i1.4923

Abstract

ABSTRAKMaksud dari penulisan ini adalah mengadakan studi terhadap relasitas lakuan gerak wayang gaya pedalangan Yogyakarta dengan musik iringan wayang. Data diperoleh dari pengamatan dan survei  pergelaran wayang yang diselenggarakan di Sasana Hinggil Dwi Abad Yogyakarta. Pendekatan masalah dengan metode deskriptif analitis,  sedangkan untuk kepentingan pembahasan dengan menggunakan analisis estetika terutama estetika pewayangan.  Berdasarkan analisis yang dilakukan, diketahui bahwa lakuan gerak wayang dengan iringan wayang membentuk jalinan harmonik. Gending iringan wayang meliputi bentuk gending ageng, ladrangan, ketawang, lancaran, playon dan sampak, sedangkan dari segi estetik memenuhi kesatuan atau keutuhan, kekuatan, dan kerumitan (unity, intencity, dan complexcity).Kata kuci: Pertunjukan wayang, relasi gerak wayang dan gamelan, struktur harmonik ABSTRACTThe purpose of this is to conduct a study of the behavior of Yogyakarta puppet style movements with puppet accompaniment music. Data obtained from observations and surveys of wayang performances held at Sasana Hinggil Dwi Abad Yogyakarta. Approach to the problem with the analytical descriptive method, while for the purpose of discussion using aesthetic analysis, especially puppet aesthetics. Based on the analysis carried out, it is known that the wayang movements with accompaniment form a harmonic structure. Puppet accompaniment gending includes the forms of gending ageng, ladrangan, ketawang, lancaran, playon and sampak, while in terms of aesthetics it takes care of unity or integrity, strength, and complexity (unity, intencity, and complexcity).Key word: Wayang performance, relation of movement and music, harmonic structure.

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