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INDONESIA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts)
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : 23386770     DOI : https://doi.org/10.24821/resital
Core Subject : Humanities, Art,
Arts Humanities
Resital : Jurnal Seni Pertunjukan merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni pertunjukan. Jurnal Resital pertama kali terbit bulan Juni 2005 sebagai perubahan nama dari Jurnal IDEA yang terbit pertama kali tahun 1999.
Arjuna Subject : -
Articles 254 Documents
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Tokoh Bambang Ekalaya dan Moralitas Pendidikan AGUS PRASETYA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.445

Abstract

Bambang Ekalaya and The Education Morality. Si Bambang Ekajaya is a story that is produced from theeducation morality condition that is growing in society at this time, and than commuted be a play manuscript story,it means that the appraise these are justifi cation and contraction. It can also be said as criticism what are looked andheard as a respond. The creation of Si Bambang Ekajaya used inter-textual theory, which inter-textual theory is tofi nd some aspects which have already exist in the works before, which appears more in the text. From some aspects,inter-textual principle can also be connected to literature work reception.
Tokoh Kabayan Sebagai Inspirasi Torotot Heong the Song of Kabayan DEDEN HAERUDIN
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.446

Abstract

Kabayan as an Inspiration of Torotot Heong The Song Of Kabayan. The theater art creation of Torotot Heongthe Song of Kabayan is a process that is inspired by the characters of folklore in Sundanese literature, Kabayan. InSundanese society, Kabayan is a stunt character from parable, a symbolic story, in the community as a media tonotify precept or wisdom. Kabayan is regarded as character with characteristic of Sundanese culture that hold on to“Cageur jeung Bageur” living guide (hale and healthy, and kind hearted). The creation process of Torotot Heongthe Song of Kabayan is performing into several stages and working methods according to Patri Pavis. It is startedby selecting the Kabayan’s Story to under take into the script. The next stage is doing some preparation for StagingProcess. The creating process is conducted through the mise en scene show’s appearance, perform into idea identification stage, artistic observation of cultural resources, the artist perspective and performance realization. TorototHeong the Song of Kabayan performances are the ultimate stage for the creative process of the hardworking teamwith a lot of effort to accomplish a communicative performance and appreciate well by the audience.
Musik Pengiring dalam Upacara Ngalaksa Masyarakat Rancakalong Sumedang ELA YULAELIAH
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.447

Abstract

Accompanying Music in Ngalaksa Ceremony at Rancakalong Community of Sumedang. This researchis intended to study the important role of music accompanying Ngalaksa ceremony held by the society of Rancakalong,Sumedang District, West Java. Although this ceremony is recently oriented to be a tourist destination, butits original function as a thanksgiving ceremony and original form of ceremony is still kept in accordance with thecustom inherited from generation. One thing that can not be separated from Ngalaksa ceremony is the Tarawangsamusic performance and Kecapi played for seven days and seven nights. By using Etnomusicological approach, it canbe known that the music within Ngalaksa ceremony plays a very important role for generating religious situationand for accompanying spontaneous dances.
Invention Zaman Barok dan Pengembangan Permainan Piano RIANTI MARDALENA PASARIBU
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.448

Abstract

Invention in Barok Era and The Development of Piano Lesson. In piano lesson, one material of parts towhich had been given is polyphony, which is an Invention from J.S. Invention is a basic fi nger-skill for pianist.Invention develops in the Baroque period. The baroque ideology is not only called as the reaction of Renaissance,but also as the continuing development from Renaissance. Invention is known in two forms. First is as a pianocomposition and second is as a piano play which can push a pianist to understand more about an arrangement thathe played and expressed.
Representasi Betara Kala dalam Pertunjukan Teater Kontemporer Kalamanungsa INDRA SUHERJANTO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.449

Abstract

Representation of Batara Kala in Contemporar Theater of Kalamanungsa. This Kalamanungsa theater tellshumanitarian issues, the journey of human life, human beings who have characters that need to fi nd a way out forthe better life. Starting from the myth Betara Kala that was born not intentionally emerges a wide range of results.Kalamanungsa will show something different. Existence Betara Kala, Kala Betara existence presented, and the mythof the birth of stalling and Betara Kala is an inspiring creation performance theater Kalamanungsa. Kalamanungsaraised the issue of modern society life with invented characters, with burdened by the dialogues that contain philosophy,poetry, with strong musical aspect. Kalamanungsa is showed with a modern theatrical approach, by presentingthe symbols to express meaning and emotion, using multimedia, projector/LCD, with music that is processed ona computer elaborated with a variety of traditional and modern musical instruments as the stage spectacle which isintentionally presented to give specifi c meaning. Theater performance Kalamanungsa tries to explain all elements ofart in a show, like music art, dance art, lighting and other art media with hope that Kalamanungsa will attend as ashow of modern theater.
Wayang Topeng Malangan: Sebuah Kajian Historis Sosiologis MUSTHOFA KAMAL
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 1 (2008): Juni 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i1.450

Abstract

Malangan Mask Dance: A Sociology History Perspective. This research represents the sociology history studyof the malangan mask puppet in Malang, East Java. Sociology history approach in this paper is used to fi nd theorigins, philosophy, distribution and function of malangan mask puppet and the form of presentation. As performanceart, mask puppet that i spread in poor areas has a close relationship with a social system that develops in itscommunity. Social system is the mechanization grown from a concept namely; a way of thinking from its society inviewing the reality of its life. Malang mask puppet presentation at the level of social function is seen as masks puppetsasked to enliven a feast. It appears that the presence of the show is a reality which is kinship and fellowship. Thereality is seen in the presence of the host, the sinoman, performance and audiences.
Legenda Penciptaan Teater Boneka Tiongkok dan Persebarannya di Nusantara Hirwan Kuardhani; C. Bakdi Soemanto; Lono Lastoro Simatupang; Timbul Haryono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.451

Abstract

Wayang Cina berkembang pesat di Indonesia. Beberapa legenda Cina berkembang mengikuti berkembangnyawayang tersebut, misalnya: Legenda Madame Li, legenda Chen Ping, dan legenda Yan. Beberapa lagenda tersebutdibawa oleh imigran Cina ke wilayah Indonesia, seperti Marionette, yang dikenal sebagai wayang gantung , yangdikembangkan di sekitar Pontianak dan Singkawang. Marionette disajikan dalam dialek Hakka dan menyajikanlegenda Cina. Sementara boneka sarung tangan yang dikenal adalah wayang Potehi, tumbuh di Jawa berasal dariFujian, awalnya dalam dialek Hokkian. Dalam perjalanannya, Potehi menggunakan bahasa Melayu Rendah yangmenjadi bahasa Indonesia. Potehi dan Boneka Gantung ( wayang gantung) telah menjadi bagian dari kebudayaanIndonesia. Mereka layak mendapat perhatian lebih dari pemerintah dan masyarakat, terutama pelaku dan pengamatseni.Kata kunci: Wayang Potehi, legenda Cina, marionette, wayang gantung.ABSTRACTThe Chinese Puppet Theatre Legend and Its Spreading in Nusantara. Chinese Puppet Theatre is growingrapidly. Some legends followed to rise Chinese Puppet, for example: Legend of Madame Li, legend of Chen Ping, andlegend of Yan. Some of them were brought by Chinese immigrants into Indonesian territory, such as Marionette, known ashanging puppet (Wayang gantung), which is developed around Pontianak and Singkawang , West Kalimantan Province.Marionette was performed in Hakka dialects and performed Chinese legend. While the glove puppet known is wayangPotehi, grown in Java, originated from Fujian, was originally in Hokkian dialect. In its journey, Potehi used Low Malaylanguage which became bahasa Indonesia. Potehi and Hanging Puppets( wayang gantung) have become parts of ourculture. They deserve more attention from the goverment and public, especially the actors and art observers.Key words: Chinese Puppet theatre, legend, marionette), Glove Puppet ( Potehi / 布袋戲))
Pengaruh Islam dalam Kesenian Setrek di Magelang Langen Bronto Sutrisno
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.452

Abstract

Setrek adalah jenis kesenian tradisional terbangan atau slawatan yang berfungsi sebagai media dakwah agamaIslam. Sebagai jenis kesenian tradisional slawatan, perpaduan unsur-unsur estetis seni yang bernafaskan Islamdengan unsur-unsur estetis kesenian rakyat tradisional merupakan akulturasi budaya yang mencerminkan bentukkreativitas lokal. Pengaruh seni Islam tidak dimaksudkan untuk merubah wujud keseluruhan koreografi nya, tetapilebih merupakan formalitas nilai Islam dalam wajah kesenian tradisional untuk tujuan dakwah. Oleh karena itubentuk penyajiannya tetap dalam format tradisi dengan sedikit sentuhan nafas Islam. Misalnya penyajian gerak tarihampir tidak dijumpai nafas Islam kecuali gerak takbiratul ihram Allohu Akbar, tokoh Kyai Ba’in yang merupakanrefresentasi seorang ulama dengan tata busana khas Islam, iringan diberi nafas Islam dengan syair-syair kitab AlBarjanzi dilengkapi instrumen terbang dan jidor mewakili musik Islam. Nafas Islam sebenarnya lebih merupakanlegalitas spirit Islam dalam kesenian setrek dengan harapan semua pemain dan penonton dapat mengamalkan agamaIslam dalam kehidupan sehari-hari. Oleh karena itu media dakwah dapat dilihat dalam setiap ungkapan nilainilaiajaran Islam berkait dengan Tuhan Allah SWT dan Rosul-Nya Nabi Muhammad SAW. Dengan demikiansetiap gerak dan musik iringan atau syair dalam kesenian setrek harus dijiwai nilai-nilai ajaran Islam. Ikon-ikondemikian penting untuk dipahami agar mereka dapat selamat hidup di dunia dan di akhirat. Kehadiran agama Islamdalam nafas perkembangan kesenian setrek tampak memperkaya penampilannya, sehingga kehadiran kesenian inidalam kehidupan masyarakat semakin menumbuhkan kualitas dalam beragama Islam, meskipun disadari sisa-sisakepercayaan kuno masih mewarnai kesenian setrek, seperti atraksi ndas-ndasan yang berupa atraksi mengimitasibinatang. Variasi atraksi arak-arakan ndas-ndasan dengan mengelilingi dusun bertujuan untuk mengusir pengaruhroh-roh jahat.Keywords: setrek, kesenian Islam, slawatan.ABSTRACTIslam infl uence on Setrek art in Magelang. Setrek is a type of traditional terbangan art or slawatan (Islamicsong) that serves as a medium for preaching Islam. As a kind of traditional slawatan art, it seems to blend Islamic aestheticelements with aesthetic traditional elements which become a form of cultural acculturation refl ecting the local creativity.The infl uence of Islamic art is not intended to change the overall form of the choreography, but the Islamic elements aremore of Islamic value formality in the form of traditional arts for the purpose of preaching Islam religion. Therefore, theform of presentation remains in the format of Islamic tradition. For example, the presentation of dance movement hardlyfi nds Islam infl uence except takbiratul ihram Allohu Akbar, KyaiBa’in as the representation of Islam priest wearing typicalIslamic outfi t; the music is also Islamic with given poems from Al Barjanzi’s book equipped with terbang and jidor. Islaminfl uence is actually more of a Islamic spirit legacy in setrek art with the hope that all the players and audience can practiceIslam in their daily lives. Therefore, the preaching media of Islam can be seen in any expression of Islamic values in relationto Allah SWT and His diciplesNabi Muhammad SAW. Thus every movement and musical accompaniment or poem insetrek art should be imbued the values of Islam. Icons, thus, are important to understand so that the people can live safelyin this world and in the hereafter. The presence of Islam in the breath of the setrek artistic development looks enriching itsperformance, so the presence of this art among the people living in Kedungan III improves the quality of embracing Islam,although there are the remnants of ancient beliefs which still characterize setrek art, such as ndas-ndasan attraction in theform of imitating animal . Variations in ndas-ndasan attraction parade around the village aims to expel the infl uence ofevil spirits.Keywords: setrek, Islam music, slawatan.
Menemukan Formula Sinematografi Seni Pertunjukan Arif Eko Suprihono; Andri Nur Patrio
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.453

Abstract

Fokus dari sinematografi untuk seni pertunjukan dimaksudkan untuk diskusi tentang pembuatan pilihanpencahayaan dan kamera saat merekam aktivitas seni pertunjukan di panggung untuk program televisi. Televisiadalah bentuk di mana sesuatu disampaikan, dicapai, atau ditransfer ke sejumlah besar orang. Isu ‘efek’ televisikehilangan program-program yang mengarah perlu diminta tidak hanya dalam hal efek atau kegiatan penontontetapi juga dalam hal kesempatan yang hilang bagi keanekaragaman budaya yang akan diekspresikan pada kreativitastelevisi. Setiap aspek dari televisi menunjukkan ketergantungan pada genre, yang merupakan kelompok kategorisproses diskursif yang transek teks melalui interaksi budaya mereka dengan industri, penonton, dan konteks yanglebih luas. Kita mungkin mulai diskusi dengan memulai dengan contoh tekstual seperti ketoprak humor, wayangkulit, opera van java sebagai praktek industri, pergeseran sejarah, atau kontroversi penonton.Kata kunci: sinematografi , seni pertunjukan, ketoprak humorABSTRACTThe Formula of Performing Arts Cinematography. The focus of cinematography for performing arts is intendedto a discussion about the making of lighting and camera choices when recording performing arts activities on stage for thetelevision programs. Television is the form in which something is conveyed, accomplished, or transferred to a large numberof people. The issues of ‘the effects’ of television miss leading programs needs to be asked not only in terms of effects oraudience activity but also in terms of missing opportunities for cultural diversity to be expressed on television creativities.Every aspect of television exhibits a reliance on genre, which are categorical clusters of discursive processes that transect textsvia their cultural interactions with industries, audiences, and broader contexts. We might begin a discussion by startingwith a textual example such as ketoprak humor, wayang kulit, opera van java as an industrial practice, a historical shift,or an audience controversy.Key words: cinematography, performing arts, cultural values, aesthetical consideration, television effects
Komposisi Tari Bunga di Atas Karang DARMAWAN DADIJONO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.454

Abstract

The Composition of “Flower on Coral” Dance is about a transformational phenomenon realized into adance called “Flower on Coral.” An art performance cannot be separated from its stage since it is an importantand integrated part of the art performance itself. Space of the performance becomes the main convention tobuild artistic communication between the star and the audience. Choices of the staging form are not just forbuilding physical distance but also building spirit. The ritual aspect of the dance is dealt by the presence of an artperformance. Humans’ art which becomes inseparable part of the nature is expected to raise new religious spacefor the humans to believe in God. ‘Walk by the Cross’ is a Catholic tradition used to improve humans’ spiritual life.Many Catholics do this tradition just as Jesus Christ did. So, there are many places built for religious visits and toexperience the passion of Christ harder before He died.

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