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<![CDATA[ANALISIS STRUKTUR NASKAH LUDRUK LAKON MLIWIS HITAM ]]>
<![CDATA[Tafsir Huda]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2281
<![CDATA[This research is entitled Analisis Struktur Naskah Ludruk Lakon Mliwis Hitam. This research focused on documenting folk theater in form ofwriting manuscript and the structural analysis. The script will no longer be developed into a wos, but into a modern structure one. The existence of Mliwis Hitam script is become an affirmation of folk art embodying solicitation of theater spirit in Nusantara. It is worthwhile that it can emerge new idiom to enrich kinds of theater in Indonesia. Structural analysis of Mliwis Hitam script is also done to ease director and actors to understand the story. This analysis can also be a reference in transformation process from textual script into a dramatic scene on stage.Keywords: script, structure, ludruk, and folk theater.]]>
<![CDATA[DETERMINAN PERUBAHAN DESAIN OMAH MBOK MASE TERHADAP KARAKTER KAMPUNG LAWEYAN DI SURAKARTA ]]>
<![CDATA[Dhian Lestari Hastuti]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2274
<![CDATA[This articleis the result of research about change design determination of Omah Mbok Mase To Character Kampung Batik Laweyan Surakarta Year 2004-2015. The research method is used phenomenology by using the Social Change Theory aproach. The result is the process of design changes Omah Mbok Mase caused by: 1) Fortress (front wall fence) built souvenir shop, 2) Tear down of buildings and replace with new buildings, 3) Selling of building structures 4) Sell all the assets, 5) Revitalize the building as a souvenir shop. The determinants of such design changes are influenced by internal factors, namely: the financial problems of the Omah Mbok Mase heirs, the inheritance system, and the mindset of trading that still using conventional means. External factors are the influence of technology and regulation of Surakarta City Government. Technological influences play a role in the cultural lag of process in economic activity. The Omah Mbok Mase heirs are evolving in a social change from a closed-character society to an open character, which must serve the tourists.Keywords: Determinant, design changes, Omah Mbok Mase, social changes, Laweyan]]>
<![CDATA[STUDI PENCIPTAAN SENI KINETIK “RAMPOGAN†]]>
<![CDATA[Satriana Didiek Isnanta]]>;
<![CDATA[Deni Rahman]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2277
<![CDATA[The study of the creation of kinetic artwork with the title “Rampogan†focuses on the study of the creation of installation works that can move (kinetic). The purpose of this experiment-based art creation is to explore the possibilities of novelty on three aspects, namely: (1) visual rampogan aspects of the wayang kulit purwa as a representation of ideas, (2) aspects of the medium / material used and (3) mechanics aspects that can move the aesthetic elements of the work.The theme of the work in this creation study originated in Javanese cultural art, namely “Rampogan†(the puppet child who describes the dynamics of warriors leaving for war). This represents the idea of creating works about social phenomena that occur in Indonesia now, where the common life of the nation and state has been torn apart by a group of people who force the will of their groups by going down the streets.The method of creating this work uses a method of “artistic creation†which consists of three stages of creation, namely: (1) the experimental stages related to the exploration of materials, tools and techniques. (2) the contemplation stage relating to the exploration process of several alternative metaphors that will be used in the work, and (3) the formation stage which is the process of materializing the work by considering the principle of composition and structure.The output of this creation study is the creation of a kinetic work with the title “Rampoganâ€, scientific articles in national journals and intellectual property rights.Keywords: kinetic art, rampogan, Javanese culture]]>
<![CDATA[RAMATURGI TEATER REALISME SIASAT DRAMATIK DAN ARTISTIK MENCIPTA ILUSI REALITAS ]]>
<![CDATA[Wahyu Novianto]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2282
<![CDATA[This research reveals the theatrical dramaturgy of realism and its staging strategies. As a dramaturgy study, history, theory, and theatrical conventions of realism are also revealed, from the beginning and development in the West to Indonesia. Furthermore, how a realism theater is created What are the dramatic and artistic tactics carried out by the director to bring the illusion of reality on the stage. This research is a literature review that makes books or other sources of literature the object of research.The results of the study explain that the history of the emergence of the theater of realism in the West is a rejection of the classical theater style that presents gods, fairies, and other mythological creatures. Theatrical realism conventions are themes around social life and psychology; the characters have sociological, psychological, and physiological dimensions; linear plot; settings are made static; absence of symbols; the fourth wall; and catharsis. The dramatic and artistic tactics carried out by the director are based on chaos, a personal experience experienced by the director.Key words: dramatic tactics, artistic tactics, realism, and the illusion of reality]]>
<![CDATA[OBJECTIFIKASI DIRI TUBUH DAN EGO DIRI DALAM FOTO KONSEPTUAL ]]>
<![CDATA[Purwastya Pratmajaya Adi]]>;
<![CDATA[S Andre Triadiputra]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2275
<![CDATA[Objectification is a way to block things that are not supposed to be objects, which often in practice is not generally realized by those who become objects or make them become objects. The human body that appears in photographic imagery in modern life, becomes an appropriate example of how the collective unconsciousness of objectification practices is carried out and produced continuously. This unconsciousness will have an impact on human inability to control and master, and in other perspectives it will also build negative representations of the body and itself. In this work the collective unconscious is accommodated by the ego which then becomes personal awareness, where personal awareness will be conceptualized in the picture frame. This artistic research is interested in conducting an in-depth investigation of the behaviors of unconsciousness of objectification, especially those relating to the human body and self, then explored and used as ideas and foundations for the creation of photographic works. The choice of approach to realize this idea, will use conceptual photography which emphasizes the expression or context of the personal interpretation of the photo artist on a phenomenon as the basis of ideas and main ideas in the creation of his photographic artwork.Keywords: Self Objectification, Body and Ego, Conceptual Photos]]>
<![CDATA[GARAP PERTUNJUKAN WAYANG KULIT JAWA TIMURAN ]]>
<![CDATA[sugeng Nugroho]]>;
<![CDATA[S Sunardi]]>;
<![CDATA[I Nyoman Murtana]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2278
<![CDATA[This research is meant to prove the result of aesthetic aspect in wayang kulit performance of Jawa Timur style categorized as ‘kerakyatan (folk)’ pakeliran. The problem is analyzed based on the concept of ‘garap pakeliran’ offered by Sugeng Nugroho (2012) and the theory belongs to Umar Kayam (1981) concerning arts categorization. The method used is qualitative method with descriptive analysis. The data is collected through library study, documentation studies, interview, and field observation. The research finding shows that the current wayang kulit performance of Jawa Timur style cannot be categorized as folk art but rather to be kitsch. It represents a performing art that always change and move on along the time. It is attempted to be more interesting supposed to be survived and to earn money.Keywords: wayang kulit, Jawa Timuran, performance treatment.]]>
<![CDATA[SIMBOLISME PATUNG MACAN KURUNG JEPARA ]]>
<![CDATA[Wisnu Adisukma]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2283
<![CDATA[The existence of Macan Kurung statue nowadays is very rare. If there is craftsperson or artisan who made it, there was very rare of them who certainly recognize the Macan Kurung statue symbolism. In this research, this statue is considered as artifact that contain of expression of self-representation which is constructed by instinctive culture. This expression was represented by object i.e. art of Macan Kurung statue and the meaning of statue appareance. The searching for meaning was the existence from artist concept, Asmo Sawiran and Singowiryo. This research was conducted to obtain tension qualified information. Therefore, this research used qualitative research method. The result showed the message of anti-colonialism value from this statue. Macan Kurung statue was also as counter culture appearance. This culture was wished for assemble Javanese culture legality as adiluhung and dynamic although foreign culture considered as modern culture entered in Javanese people.Keywords : Jepara, Macan Kurung, Symbolism]]>
<![CDATA[PENCIPTAAN BATIK Korporat Isi surakarta ]]>
<![CDATA[S Sukirno]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2279
<![CDATA[This research on arts creation focuses on creation of corporate batik for InstitutSeni Indonesia Surakarta. The created model is possible to be applied to other institution. The creation of batik corporate is based on the need of a uniform for institution unity as well as to express good image to the community. This research applies the approach of design creation implemented in the series of batik creation especially of Institut Seni Indonesia. The research method of design creation includes the following steps: (1) identification (2) research (3) formulating ideas (4) prototype (5) selection (6) application (7) evaluation. The result represents the specific batik of Institut Seni Indonesia Surakarta academic staffs according to institution vision. The vision and mission of Institution can be searched from the realized logo and the official color of Institution as well as landscape that can become the icon.Keywords: Batik, corporate, ISI Surakarta]]>
<![CDATA[EKSISTENSI TARI BEDHAYA KETAWANG ]]>
<![CDATA[Eko Supriyanto]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2280
<![CDATA[Bedhaya Ketawang dance is a dance developed in the Surakarta Palace. This dance in ancient times should only be performed when Jumenengan sinuwun. The development of this dance can then be danced outside the palace walls. The problem in this study is how the philosophical values contained in the Bedhaya Ketawang Dance and how the existence of the Bedhaya Ketawang Dance existed in the past with the present. The benefits of this research are entitled Philosophical Values in Bedhaya Ketawang Dance (Its existence in the past with the present) is to find philosophical values in the Bedhaya Ketawang Dance and see its existence in the past with the present. Research on Philosophical Values in Bedhaya Ketawang Dance is a type of library research. Library research is a study carried out by examining a number of libraries that are used as references. The results of this study are the philosophical values contained in the Bedhaya Ketawang Dance and the existence of the existence of the Bedhaya Ketawang Dance in the past with the present.Keywords: Bedhaya Ketawang, philosophy, existence, shift]]>
<![CDATA[SANGGIT TOKOH DALAM BANJARAN SENGKUNI ]]>
<![CDATA[YB Rahno Triyogo]]>
<![CDATA[ Acintya Vol 10, No 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2276
<![CDATA[Banjaran Sengkuni is a play that tells the story of the life of a wayang character named Sengkuni, from his birth to tragic death. Through the play the puppeteer believes that the real character of a figure is formed not only from birth but also since the process of fetal occurrence through sexual intercourseof the parents. Besides the process in the womb, the character is also formed by the environment that surrounds its life: the environment of the family, the surrounding community, and the universe.The character of Sengkuni in Banjaran Sengkuni was largely determined by the process of development of the baby or fetus in the womb, namely through the results of adultery or adultery which is culturally considered negative, even sin. He inherited his father’s character, Gandarwa named Setibar. The characters which could be observed include: baby Sengkuni was born with a handsome face but fanged, just like his father having fangs. In wayang tradition, a fang reflects a negative value.Keywords:character, fetal formationprocess, environment, universe]]>
