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Surya Farid Sathotho
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Tonil, Jurnal Kajian Sastra, Teater dan Sinema
Published by Institut Seni Indonesia Yogyakarta
ISSN : 14116464     EISSN : 26858274     DOI : DOI: https://doi.org/10.24821/tnl.v19i2
Core Subject : Humanities, Art,
Arts Humanities
Tonil: Journal of Literature, Theatre, and Cinema Studies, issn: 1411-6464 (print) and issn: 2685-8274 (online), is a scientific journal in the fields of Theatre/Arts creations & studies under the publication banner of Theatre Department, Faculty of Performing Arts in Indonesia Institute of the Arts Yogyakarta (ISI Yogyakarta). TONIL publication emphasizes its role as a medium for communication, discussion, advocation and literary refinement. TONIL serves as a vessel to accommodate the ideas and criticism from the artists, scientists, practitioners, and also all positions involved in the field of Theatre and Performing Arts
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 92 Documents
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FIGURATIVE LANGUAGE ENTRY-LEVEL ANALYSIS ON ROBERT FROST’S A MINOR BIRD Gabriel Chamelia Sudibyo
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 16, No 1 (2019): 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v16i1.3124

Abstract

Abstract: Poem employs a variety of aesthetic devices varying from rhythm, meter, and on textual literary content: figurative language. Through the usage of figurative language, a short poem is capable to deliver more in-depth meaning in each word. In the poem A Minor Bird by Robert Frost, the poet employs symbols and imagery as the most prominent figurative language device. Hence this paper aims to identify these devices and further explains it as a poem breakdown analysis in hope to enlighten readers’ perception and understanding against entry-level poem analysis. The method used in this research is library research and literature review. Key words: Robert Frost, figurative language, poem analysis
Aktor Menurut Uta Hagen santosa, eko
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Uta Hagen (1919 – 2004) adalah seorang aktris dan praktisi teater Amerika. Memulai karirnya dari panggung Broadway dan begitu memesona dalam pertunjukan “Whos’s Afraid of Virginia Woolf?” karya lakon Edward Albee. Karena kehebatan seni perannya tersebut ia dijuluki sebagai aktris terpercaya. Hagen kemudian melangkahkan kakinya ke Hollywood dan membintangi beberapa film. Namun karena persoalan pilihan politik ia memilih melanjutkan karirnya di panggung. Perjalanan karir Hagen mengarahkannya menjadi guru atau pelatih teater di Studio Herbert Berghof dan menuliskan 2 buku best seller-nya yaitu Respect for Acting1 dan A Challenge for the Actor2. Dalam hal pembelajaran teater, warisan besarnya berupa serangkaian latihan dengan objek yang ia bangun berdasarkan karya Stanislavski dan Vakhtangof. Hagen memiliki pandangan umum mengenai aktor yang ia tulis dalam bukunya Respect for Acting, pada bab pertama. Ia berpendapat bahwa aktor memerlukan bakat, imajinasi, pemahaman akan realitas, kehendak berkomunikasi, karakter dan etika, sudut pandang, memahami perilaku manusia, dan kedisiplinan menyeluruh. Untuk mencapai tujuan tersebut seorang aktor harus berlatih dan menyempurnakan perangkat eksternalnya yaitu tubuh, suara, dan wicara serta belajar ilmu-ilmu lain dengan seksama. Pandangan umum mengenai aktor menurut Uta Hagen yang menjadi konsep dasar pemahaman tentang keaktoran ini akan sedikit diurai dalam tulisan berikut.
PRESENTASI TOKOH ESTELLE DALAM NASKAH PINTU TERTUTUP KARYA JEAN PAUL SARTRE TERJEMAHAN ASRUL SANI DENGAN MENGGUNAKAN TEORI PSIKOANALISIS eyes putri
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 2 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i2.3020

Abstract

Abstrak: Naskah yang akan digunakan dalam studi pemeranan ini adalah Pintu Tertutup karya Jean Paul Sartre yang diterjemahkan Asrul Sani dari judul asli Huis Clos (1945). Studi pemeranan ini akan menggunakan pendekatan presentasi (realis) sebagai metode analisis naskah, mengolah dialog dan transformasi aktor. Analisis karakter yang digunakan sebagai basis eksplorasi peran adalah menggunakan teori psikoanalisis Freud. Hasil dari studi karakter dan naskah memungkinkan pemeran dalam memerankan tokoh secara penuh perasaan, kuat dan ekspresif. Kata kunci: presentation, realis, transformasi, psikoanalisis  Abstract: The playscript used in this characterization study is the Pintu Tertutup, the work of Jean-Paul Sartre, translated by Asrul Sani from the original title Huis Clos (1945). This study used the presentation (realist) approach as a method of character creation, dialogue and transforming actors. Character analysis used as the basis for role exploration using Freud's psychoanalytic theory. The results of character and playscript analysis enable the actor to impersonate the character in a full, strong and expressive feeling. Key words: presentation, realist, transformation, psychoanalysis
PENYUTRADARAAN NASKAH SULTAN THAHA SAIFUDDIN KARYA EM. YOGISWARA BERBASIS TEATER TRADISI DUL MULUK saputra, medi
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Adapting a legendary folklore into the role play is absolutely very contradiction with public watcher nowdays. Society dominantly has chosen to watch movies or another television programs that makes theatre’s becoming retarded. It caused of globalization effect and technology development which more sophisticated day by day. Afterwards, a creative idea as a play director was turning up that has a responsibility for making a play to readapt norms and moral values which had been left behind. Dul Muluk, as one of traditional role plays that had been a basic play director processing in a theatre with the title Sultan Thaha Saifuddin from EM. Yogiswara. Sultan Thaha Saifuddin is a heroic person from Negeri Jambi and the last king from Kesultanan Tanah Pilih Kampung Gedang Jambi. His heroic, firm and wise makes Jambi society support him consistently and solidly to avoid the Netherland. In adapting this legendary folklore, the writer was collecting the data as references from earlier works about Dul Muluk theatre and its development, also the supporting stories about the legend of Kesultanan Melayu Jambi. The data was found and involved for making a modern theatre that can be accepted by the society nowdays. Keywords: People Struggling, Sultan Thaha, Dul Muluk, Play Director, Theatre
PENCIPTAAN SKENARIO FILM “UDAN LIRIS” TERINSPIRASI DARI KAIN TENUN LURIK siti bariyah
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): Juni 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i2.3097

Abstract

Abstrak: Lurik adalah salah satu produk kesenian tradisional ini yang kini makin jarang dijumpai. Melihat permasalahan ini, Udan Liris diciptakan dengan maksud menumbuhkan kembali rasa cinta dan untuk melestarikan kesenian yang mulai langka ini. Berlandaskan pada teori struktur skenario tiga babak, dibantu dengan teori feminisme dan interteks untuk mengembangkan plot lebih dalam, penelitian ini menghasilkan skenario film yang utuh bertemakan kegigihan dan ketulusan seorang perempuan pada kesenian Lurik. Kata Kunci: skenario, film, interteks, Lurik, feminism Abstract: Lurik is one of traditional arts rarely seen these days. Taking this issue into consideration, the writer decides to create Udan Liris to invoke the interest back to conserve this art that has begun to vanish. Based on the structure theory in which movie scenario consists of three stages, also through feminism and intertext theory to further develop the plot, this research produces a movie script that tells about a woman's perseverance and honesty for the Lurik art. Key Words: scenario, movies, intertextual, Lurik , feminism 
PENYUTRADARAAN DRAMA MUSIKAL HAMLET KARYA WILLIAM SHAKESPEARE amanda putri devanti
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 1 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i1.2791

Abstract

Abstrak: Hamlet, sebuah kisah tragedi oleh Shakespeare membawa pesan moral, sosial, dan politik. Drama ini mengisahkan sumpah dan upaya Pangeran Hamlet untuk membalas dendam. Penelitian ini akan menuliskan bagaimana naskah Hamlet diangkat ke dalam bentuk drama musikal, dengan tari, musik, dan nyanyian. Dalam persiapan adaptasi ini, dilakukan pemilihan dan pelatihan aktor serta perancangan panggung dan tata artistik. Drama musikal ini khususnya ditujukan kepada para generasi muda, karena melihat jarangnya teater klasik dengan kemasan masa kini. Kata Kunci: Hamlet, Drama Musikal, Generasi muda Abstract: Hamlet, a tragedy written by Shakespeare, is full of moral, social, and political value. This drama tells about Prince Hamlet's vow and effort to get revenge. This research explains how the Hamlet play script is adapted into musical drama, with dance, music, and songs. In preparation for this adaptation, there will be casting and training process for the actors, along with stage and artistic planning. This musical drama is mainly aimed to younger generation to counter the lack of classic theatre in modern style. Key Words: Hamlet, Drama Musical, Young generation
PEMERANAN TOKOH RATU MAHRIT DALAM NASKAH RAJA MATI KARYA EUGÈNE IONESCO TERJEMAHAN IKRANAGARA gradhina amborowati
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 16, No 1 (2019): 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v16i1.3125

Abstract

Abstrak: Raja Mati adalah salah satu naskah drama absurd karya Eugène Ionesco yang menceritakan tentang sebuah kerajaan yang sudah sekarat.  Raja Mati memberikan pesan kepada kita bahwa hidup di dunia ini bersifat fana. Penelitian dan penciptaan seni ini hendak mengeksplorasi proses latihan dalam pemeranan tokoh Ratu Mahrit dalam naskah Raja Mati karya Eugène Ionesco. Tidak terdapat metode dan teori pemeranan spesifik untuk naskah absurd, sehingga penelitian dan penciptaan ini menggunakan proses kreatif Wallas (1926) sebagai panduan dalam eksplorasi pemeranan. Proses eksplorasi ini membawa peneliti pada pemahaman mengenai beragam absurditas dari berbagai sumber dan membuat beberapa metode latihan sendiri untuk melakukan pendekatan terhadap tokoh, terutama pada ketubuhan, vokal, dan rasa. Kata kunci: Raja Mati, Absurd, Ionesco, Ratu Mahrit. Abstract: Exit the King is one of the absurd playcripts by Eugène Ionesco which tells of a dying kingdom. Exit the King gives us a message that life in this world is perishable. This research and creation of art seeks to explore the process of training in the role of the Queen Mahrit in the Exit the King script by Eugène Ionesco. There are no specific methods and theories for the absurd play, so this research and creation of art uses the Wallas (1926) creative process as a guide in the role playing exploration. This exploration process brings the researchers to an understanding of the various absurdities from various sources and tries several methods of exercise to do the role, especially in body, vocal, and sense exploration. Key word: Exit the King, Absurd, Ionesco, Queen Mahrit.
TRANSFORMASI PERTUNJUKAN WAYANG BEBER JAKA KEMBANG KUNING MENJADI PERTUNJUKAN TEATER PANGGUNG nurcahyono, wahid
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

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Abstract

Visually traditional Wayang Beber becomes unattractive when compared with the puppet, puppet show, or other stage plays. This is the reason why Wayang Beber need to get a good touch broadly on the form and meaning of the play contained therein. Theatrical action, song and music, color and composition are used as a means of said stories provide a wider opportunity for the emergence of imagination in the audience. The entire string of performances will form a separate text with an open and straightforward meaning. Active role of the viewer is needed in order to create a strong braid between the artist, the copyrighted work as well as the audience. It takes the efforts to invite more radical audience to be part of an artwork intact. Breakthroughs such as involving the viewer to enter into the process or the show can be a separate option in the lifestyles of people who are too lazy to visit the venue. Invites viewers into direct contact with the expected performances more intimate communication. Key word : Wayang Beber, unattractive, intimate communication 
ERRATUM JURNAL TONIL EDISI 16, NO. 1, 2019 Redaksi Jurnal Tonil -
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 16, No 1 (2019): 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v16i1.3307

Abstract

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PENCIPTAAN TOKOH SEDANG DALAM NASKAH TERDAMPAR (NA PELNYM MORZU) KARYA SLAWOMIR MROZEK TERJEMAHAN A. KASIM AHMAD Banyu Bening
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): Juni 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i1.3303

Abstract

Abstrak: Terdampar adalah naskah drama absurd bertemakan eksistensialisme karya Slawomir Mrozek terjemahan A. Kasim Ahmad. Naskah drama absurd memberikan tantangan yang berbeda dalam perwujudan realitas dan penjiwaan aktor yang memerankannya. Tantangan ini menjadi pokok permasalahan yang akan diatasi dalam proses pembuatan tokoh Sedang. Penelitian ini bertujuan untuk menjabarkan pemeranan tokoh Sedang dengan metode keaktoran Brecht. Hasil menunjukkan bahwa kepiawaian seorang aktor dinilai dari keberhasilannya merealisasikan realitas meskipun realitas tersebut bersifat semu seperti dalam drama absurd ini. Kata Kunci: Realitas, Manusia, Aktor, Eksistensi Abstract: Terdampar (Stranded) is an absurd play script with existentialism theme by Slamowir Mrozek, translated by A. Kasim Ahmad. This absurd play script gives a different challenge due to its absurdist reality and difficulty for the actors to get fully immersed on their roles. These challenges become the main problem that will be solved through this paper's breakdown on Sedang character creation. This research aims to explain how Sedang characterization is done through Brecht's method. The result shows how an actor's capability is judged from his successful deliverance in realizing an absurd or vague reality like one presented in this absurd drama. Key Words: Reality, human, Actor, Existence

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