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Riyana Rizki Yuliatin
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INDONESIA
Tamumatra : Jurnal Seni Pertunjukan
Published by Universitas Hamzanwadi
ISSN : -     EISSN : 26217244     DOI : 10.29408/tmmt
Core Subject : Education, Art,
Arts Education
Jurnal TAMUMATRA (e-issn: 2621-7244) mempublikasikan hasil penelitian dan kajian analitis dalam bidang pendidikan seni dan seni pertunjukkan drama, tari, dan musik. TAMUMATRA terbit dua kali setahun yaitu Juni dan Desember
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 74 Documents
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THE LOVE AND FOOL TRAGEDY IN “KING LEAR” DRAMA BY WILLIAM SHAKESPEARE Wahidah, Nurul
TAMUMATRA Vol 1, No 1 (2018)
Publisher : Universitas Hamzanwadi

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Abstract

Literary work is one of the ways to show some phenomena in this world. Social condition in one country or city can be read in a novel or drama. All of the events and situation at the time become basic idea for author to elaborate his idea through imagination. The story which appeared in that work will be didactic matter for some people. The story also can be end by happy catastrophe or sad. The purpose of this written is to know and to gain social event that happened behind the story. The only key to get the meaning of that story is by reading process.  Beside that through reading, the meaning of the story in that work will be emerged.  Reading is a very important action to check the meaning of literary work or playwright. In this drama the story talks about foolish character which cannot get happiness. The story is so sorrowful and full of tragedy. The main character feels sadness and hopeless.  Without reading the meaning of that drama cannot be understood.  Key word: Meaning, Reading, and tragedy.
DEKONSTRUKSI MAKNA DAN PERANAN TOKOH DALAM STRUKTUR TEKS KEMIDI RUDAT Murahim, Murahim; Yulianita, Isnaini
TAMUMATRA Vol 1, No 2 (2019)
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Abstract

Masyarakat Sasak di Lombok, Nusa Tenggara Barat adalah masyarakat yang sangat kaya akan tradisi dan sudah dapat dikatakan menjadi bagian dari kehidupan sosialnya. Tradisi dalam masyarakat Sasak Lombok mengatur tata perilaku seseorang dalam bermasyarakat, sebagai pengendali social yang dipercaya mampu menghidupi masyarakat menjadi masyarakat yang beradab dan saling menghargai antar sesame.Tradisi tersebut dapat berupa upacara-upacara daur hidup, kematian, tata laku dan juga kesenian. Proses memaknai seni tradisi yang mengikuti perkembangan kebudayaan membutuhkan metode tertentu atau cara pandang melihat tradisi atau kesenian tradisional dengan cara yang berbeda. Dalam penelitian ini, metode yang digunakan adalah metode dekonstruksi, yaitu sebuah metode pembacaan teks dengan memasuki lebih dalam teks tersebut sehingga menemukan pentingnya hal-hal yang selama ini mungkin diabaikan dalam teks tersebut. Metode ini akan membawa makna baru yang dapat disesuaikan dengan perkembangan kebudayaan. Objek penelitian atau teks kebudayaan yang diteliti adalah teater tradisional masyarakat Sasak yaitu Kemidi Rudat.Simpulan yang diperoleh adalah peran tokoh utama terletak pada Jongos dan Khadam yang mampu menghidupkan suasana pentas dan wakil dari kebebasan atau kemerdekaan yang didamba setiap manusia. Peranan tokoh yang berimplikasi pada makna Kemidi Rudat yaitu kerinduan akan kebebasan atau kemerdekaan hidup manusia.
FUNGSI SENI TEATER SEBAGAI MEDIA KRITIK SOSIAL DALAM CERITA RAKYAT “PUTRI MANDALIKA” Desnayanti, Rosita; Kailani, Ashwan
TAMUMATRA Vol 2, No 1 (2019)
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Abstract

Penelitian ini bertujuan untuk mengetahui bentuk penyajian teater Putri Mandalika dan fungsi teater Putri Mandalika sebagai media kritik sosial. Teori kritik sosial sebagai alat membedah hubungan sosial yang terjadi karena adanya bentuk dan aturan hidup yang disebabkan oleh manusia. Metode penelitian yang digunakan adalah penelitian deskriptif kualitatif. Penelitian telah dilaksanakan di Desa Seriwe, Kecamatan Jerowaru, serta diadakannya penyajian teater Putri Mandalika. Teknik pengumpulan data yang digunakan peneliti adalah observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan yaitu reduksi data, penyajian data, dan penarikan kesimpulan (verifikasi). Setelah melakukan analisis data, maka dapat disimpulkan bahwa: a) bentuk penyajian teater Putri Mandalika menggunakan konsep berbeda yang telah dimodifikasi. b) teater Putri Mandalika dapat dijadikan sebagai media kritik sosial.
PERTUNJUKAN KERUNCONG STAMBUL FAJAR SEBAGAI SIMBOL SEJARAH Saputra, Iqbal H.
TAMUMATRA Vol 1, No 1 (2018)
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Abstract

Stambul was introduced in Kota Pelabuhan Surabaya the late nineteenth century, until the early twentieth century. Stambul Music is part of a drama performance, the music accompaniment nuanced typical of Stambul, a variation of keroncong music. Keruncong Stambul Fajar in Mendanau Island, Belitung Regency, Bangka-Belitung Islands Province, has the same roots of the arts. Keruncong Stambul Fajar Pulau Mendanau is one form of artifacts, of the many artifacts in Belitung Island. This basic rhythmic music is a proof that the assimilation and alkuturation of Belitong Island has long been happening, as it has been in other parts of the archipelago, in different variants and forms. The problems studied in this paper are: 1) How can the Stambul music  get to Belitung Island ?; 2) What is the concrete proof of cultural intercrops which then gave birth to assimilation and acculturation in music art Stambul Fajar Pulau Mendanau, Bangka Belitung Islands province with the same art, both spread in the archipelago, as well as those in the area of origin? Key Word: Keruncong Stambul Fajar  performances; symbol of history.
ELEMEN DAN MAKNA GERAK TARI DARA NGINDANG DI SANGGAR SENI TERUNA BEBADOSAN DESA LENEK KECAMATAN LENEK, LOMBOK TIMUR Muhimmah, Siti Hidatullah
TAMUMATRA Vol 1, No 2 (2019)
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Abstract

The research aims to know the elements and the meaning of Dara Ngindang Dance Motion at Lenek villageof Bebadosanart Teruna Art. The study used the theory of motion element and semiotics theory of Charles Sanders Peirce. The study used was qualitative descriptive. The result of this study shows that there are three, the supporting elements of Dara Ngindang dance, namely space, time and energy. The meaning of found in Dara Ngindang dance motion of by  using the theory is ngindang in qualisign meaning dynamic and freedom, nyumping in away. Qualisign means soft and gracefully, joltak in sinsign means jumping, mematuk in sinsign means eating, bekerap in qualisign  means standard and degrees, bekeketer in sinsign means mating, as well as motion begeroh in sinsign means menggiring (leading).
EKSISTENSI GAMELAN AMAK ABER DI DESA MENDANE RAYA KECAMATAN KERUAK KABUPATEN LOMBOK TIMUR Azizah, Naila Yusri
TAMUMATRA Vol 2, No 1 (2019)
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Abstract

This study aims to describe the existence of Gamelan AmakAber at Mendae Raya Village, KeruakSub-district, and EastLombok Regency. This art has the important role to play, this study focused on the existence and function of Gamelan AmakAber. This study used a qualitative descriptive method. The subject of this study was Gamelan AberAber. The data collection technique used in this study was interview, observation and documentation. The validity check of the data in this study used source triangulation. The data analysis technique used consist of four stages, namely, data collection (data collection), reduction (data reduction), display data (data presentation), and conclusions drawing / verification (conclusion examiner and verification). The result of this study included the existence of AmakAber gamelan in detail. The art of Gamelan AberAmak was first brought to Mendane Raya in 1920 by DatukDaiman. Gamelan AmakAber art that does not allow woman to play in this art is very sacred. The preservation of Gamelan AmakAber art is carried out by always maintaining the authenticity of the art and recruiting young player or friend. This art function is entertainment, nyongkolan, khitanan, village peririk and source of livelihood.
BENTUK DAN FUNGSI PERTUNJUKAN TEATER AMAQ ABIR DI SANGGAR PUSTAKA BUDAYA DESA MARONG KECAMATAN PRAYA TIMUR LOMBOK TENGAH Zuhri, M. Ihsan; Markarma, Muh Ridwan; Yuliatin, Riyana Rizki
TAMUMATRA Vol 1, No 1 (2018)
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Abstract

This study aims to describe the form and function of Amaq Abir theater performance at the Marong Village Cultural Literature Studio, Praya Timur District, Lombok Tengah. The research was conducted in Nyampe Hamlet, Marong Village, Praya Timur District. The approach used in this study was qualitative descriptive. The object in this study is the Amaq Abir theatre which includes the form and function of the show. From the results of the study found about: 1) the form of the show, which includes elements in theatrical performances namely: theme, plot, characterization, language, messages, and settings. Supporting elements of the show related to the artistic system, namely: stage management, decoration, sound system, lighting, makeup, and fashion. 2) the theater function of Amaq Abir consists of a) function as entertainment, b) function as social criticism, and 3) function as an economic. Keywords: Form of Performance, Function, Amaq Abir Theater
STRUKTUR DAN FUNGSI TARI AMAQ ABER DESA MENDANA RAYA KECAMATAN KERUAK KABUPATEN LOMBOK TIMUR Yuniarni, Ema
TAMUMATRA Vol 1, No 2 (2019)
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Abstract

Amaq Aber dance at the Traditional Sanggar at Mendana Raya Village has a special uniqueness that makes it worth knowing more about its structure and function. This study focused on the structure of the Amaq Aber Dance seen from the motion of the elements of dance and performance function of Amaq Aber.This type of research used a descriptive type of qualitative method. The subject in this study was AmaqAberdancein the Amaq Aber Village of Mendana Raya, Keruak District, and East Lombok Regency. Data collection technique used in this study was interview, observation and documentation. Data analysis techniques used consisted of four stages, namely, data collection (data collection), reduction (data reduction), data display (data presentation), and conclusions drawing / verification (conclusion checker and verification).The results of this study included the Form of AmaqAber Dance which being danced first, called Datu Bajang Dance, consisted of the movement of two dancers as bodyguards and two dancers as rulers. The second part of the dance is called AmaqAkus dance, which was the king's messenger dance with irregular and non-patterned movements. Part three dance is called the Panji Dance, which was a princess, a prince and both bodyguards. Part four dance is called TariPanji as well, but only penguaya dances (princess and prince). The dance function of AmaqAber was as a treatment, repellent and entertainment.
WACANA POS-DRAMATIK DALAM TEATER POOH-POOH SOMATIC: ON CROWD OF BIOGRAPHIESKARYA KALANARI THEATER MOVEMENT YOGYAKARTA Cantini, Cucum
TAMUMATRA Vol 1, No 1 (2018)
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Abstract

The Pooh-pooh Somatic: On Crowd of Biographies that Kalanari Teater Movement has performed at Pusat Kebudayaan Koesnadi Hardjasoematri, Gadjah Mada University on August 22 2017, has become one of the dramatic theater movement of discourse to the post-dramatic. The phenomenon of the death of the text has come to the fore in Indonesian performing arts. This review will discuss the discourse of drama production by reaching out the Lehmann post-dramatic phenomenon. The death of conventional texts that are present in the drama-script, turns into a phenomenon of the emergence of theater productions that put the body forward rather than the language that was previously the main standard to convey meaning to the audience. Through Foucalt's perspective of discourse, this study will discuss the process of dramatic theater movement from dramatic to post-dramatic. The point of this paper is that post-dramatic theater becomes part of the performing arts that remains part of contemporary drama or theater. While not exploiting text or language, symbols and sounds have been communicated to the audience. In this case, the narration through symbols and sounds is agreed as a universal language.Keywords: drama, post-dramatic, language, theater, Kalanari.
BENTUK PENYAJIAN GENDANG BELEQ GUNTUR TLU DESA SONGAK KECAMATAN SAKRA LOMBOK TIMUR NTB Rohin, Wiwin Familia
TAMUMATRA Vol 2, No 1 (2019)
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Abstract

            This study aims to describe the form of serving gendang beleq guntur tlu Songak village, Sakra Lotim district, NTB. This research was also conducted because this music is a traditional art that is in Songak village which must be preserved,one of the ways is to do this research.             The approach used in this research is descriptive qualitative. The object in this study is gendang beleq guntur tlu which includes the presentation form. The subjects in this study were supporters of gendang beleq guntur tlu itself. The study focused on the form of gendang beleq gutur tlu. Data collection by(1) Observation, (2) interviews and (3) documentation. Data is done by (1) data reduction, (2) data presentation, (3) conclusion. To check the validity of the data, the data validity technique is used by triangulation technique.            From the results of the study, it has been found about: (1) The form of the presentation gendang beleq guntur tlu is a form of dance orchestra music using various traditional musical instruments and covers. Gendang Beleq Guntur Tlu itself. b. Performance (performance) c. Performance procedures d. floor pattern.   e. dance f. place of show g. cosmetology h. fashion and i. music. (3) Musical instruments used by gendang beleq, petuk, cemprang / ceng-ceng, reong, gong,oncer.

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