Article Per Year (5 Year)
p-Index From 2021 - 2026
1.94
P-Index
This Author published in this journals
All Journal Jurnal Pendidikan Seni Rupa Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Tonil, Jurnal Kajian Sastra, Teater dan Sinema Terob : Jurnal Pengkajian dan Penciptaan Seni IDEA: Jurnal Seni Pertunjukan Jurnal Pendidikan Seni dan Industri Kreatif
Surya Farid Sathotho
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Other

Published : 14 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 14 Documents
Search

 1   2 
DRMATURGI MEDIA BARU PADA PERTUNJUKAN WAKTU BATU. RUMAH YANG TERBAKAROELH TEATER GARASI/GARASI PERFORMANCE INSTITUTE DI YOGYAKARTA Al-Hamdany, Ahmadul Musthofa; Sathotho, Surya Farid; Kuardhani, Hirwan
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 21, No 1: Maret 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v21i1.12283

Abstract

Pertunjukan Waktu Batu. Rumah yang Terbakar merupakan versi terbaru dari proyek Waktu Batu yang sudah dikerjakan oleh Teater Garasi/Garasi Performance Institute sejak tahun 2000. Pada versi terbaru ini, Teater Garasi/Garasi Performance Institute bereksperimen dengan menghadirkan teknologi digital sebagai elemen penting dalam pertunjukan. Penelitian ini bertujuan untuk menganalisis konsep dramaturgi yang diaplikasikan pada pertunjukan Waktu Batu. Rumah yang Terbakar. Teori yang digunakan dalam penelitian ini adalah dramaturgi media baru. Penelitian ini menggunakan metode kualitatif dengan strategi studi kasus. Berdasarkan analisis yang dilakukan penilitian ini menghasilkan temuan bahwa: dramaturgi yang diaplikasikan pada pertunjukan Waktu Batu. Rumah yang Terbakar merupakan dramaturgi media baru. Hal ini di dasarkan pada penggunaan media digital dalam pertunjukan meliputi proyeksi digital, teknologi atmosfer, soundscape, dan video langsung (live video).
MANDIEK ANAK AS PERFORMANCE AT SALAREH AIA Sathotho, Surya Farid
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 19, No 1: Maret, 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v19i1.6933

Abstract

Mandiek anak is rituals as part of baralek gadang. Although baralek gadang is a marriage ritual known in the West Sumatra region or Minangkabau, but mandiek anak is only known in the Nagari Salareh Aia region. This ritual aims to show society the social status of the organizer of the mandiek anak. Theatre anthropology shows how mandiek anak can be seen as a performance. In this approach, mandiek anak is treated as a performance that can be analyzed the forming elements. The method used to conduct research is purposive sampling. The resulting description is analytical to the phenomenon found. With a comprehensive description, it can be seen that the elements of mandiek anak as a performance can be identified. The performance elements in scripts, players, audiences and places look real. Mandiek anak scripts are all rules that ensure the passage of mandiek anak in an orderly and smooth manner. Players and spectators have intense interactions and a real-looking performance venue. The results of this study expect to show how mandiek anak as performance has a particular form that makes it can be passed down to the supporting community. Keywords: mandiek anak, teater antropology, performance
ABSURDITY IN PUTU WIJAYA’S SHORT PLAY Sathotho, Surya Farid
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 18, No 2: September, 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v18i2.4458

Abstract

Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya
“ARKANTI”: KONVENSI TEATER PANGGUNG DALAM PERTUNJUKAN VIRTUAL TEATER KOMA Sathotho, Surya Farid
Jurnal Pendidikan Seni dan Industri Kreatif Vol. 3 No. 2 (2022): SENDIKRAF Jurnal Pendidikan Seni dan Industri Kreatif
Publisher : BBPPMPV Seni dan Budaya Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.70571/psik.v3i2.10

Abstract

ABSTRACT The current study aims to prove the conventions of stage theater in the virtual performance of “Arkanti” by Teater Koma. Virtual performances were conducted by Teater Koma to continue producing art works during the Covid-19 pandemic. Conventions of realism theater are used to further observe stage idioms in the performance. An understanding of technical matters in a theatrical performance is also considered which include acting patterns, scenes, staging, wardrobe, make-up, and lighting. The elements are analyzed to see how they differ from films. Virtual performance of “Arkanti” is used as a research sample with the consideration that as a virtual performance produced by Teater Koma, it may represent various types of widespread online theater performances during the pandemic time of Covid-19. The results of the study demonstrate that the performance texture of “Arkanti” tends to be similar with theatrical performance on stage. The style of acting, stage layout, and lighting design show the concept of the stage performance. The use of camera as an intermediate medium is not intended to remove stage imagery.  ABSTRAK Penelitian ini bertujuan untuk membuktikan konvensi teater panggung dalam pertunjukan virtual “Arkanti” oleh Teater Koma. Pertunjukan virtual dilakukan oleh Teater Koma untuk tetap berkarya selama masa pandemi Covid-19. Konvensi teater realisme dipergunakan untuk melihat lebih lanjut idiom-idiom panggung dalam pementasan dimaksud. Pemahaman tentang hal-hal yang bersifat teknis dalam sebuah pertunjukan teater juga dipergunakan sebagai pertimbangan, di antaranya pola pemeranan, pengadeganan, tata pentas, tata busana, tata rias maupun tata cahaya. Unsur-unsur tersebut dicermati untuk memperlihatkan perbedaannya dengan film. Pementasan virtual “Arkanti” digunakan sebagai sampel penelitian dengan pertimbangan bahwa pertunjukan virtual produksi Teater Koma dapat mewakili berbagai jenis pertunjukan teater secara daring yang marak selama masa Pandemi Covid-19. Hasil penelitian memperlihatkan bahwa tekstur pementasan “Arkanti” memiliki kecenderungan sebagaimana sebuah pementasan teater di atas panggung. Gaya berperan, tata panggung dan tata cahaya menunjukkan konsep pertunjukan di atas panggung. Penggunaan kamera sebagai media perantara tidak dimaksudkan untuk menghilangkan citra panggung.
Co-Authors Al-Hamdany, Ahmadul Musthofa Avril Ailsa Suha Maharani Hirwan Kuardhani Nanang Arisona Nur Annisa Savini Nur Sahid Philipus N. H Wibowo Philipus Nugroho Hari Wibowo Puti Ilalang Sunyi Risa Erdila Tama, Krisna