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All Journal Panggung Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Batoboh : Jurnal Pengabdian Pada Masyarakat Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Creativity And Research Theatre Journal

Enrico Alamo

Prodi Seni Teater, Fakultas Seni Pertunjukan Institut Seni Indonesia (ISI) Padangpanjang

Author-ID : 223952

Religion Arts Humanities Economics, Econometrics & Finance Education Social Sciences Other

Published : 8 Documents Claim Missing Document

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Articles

THE PLAY OF MONOLOGUE PUTU WIJAYA; CREATIVE PROCESS AND PERIOD OF WRITING ENRICO ALAMO
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Putu Wijaya is one of the most important Indonesian playwrights in writing, both; short stories, novels, drama scripts, and even monologue scripts. At the moment the manuscript is published, published 118 titles published in the book "100 Monologue Works: Putu Wijaya". On the sidelines of his recovery, Putu Wijaya who was plagued by a brain hemorrhage due to a mild stroke was still an actor performing a monologue script titled "OH". Being born as one of the Balinese aristocracies did not make Putu Wijaya remain in his caste, even the days were filled with authorship, he never gave up. Do not want the gnawing disease to stop the field being cultivated. Long before the Japanese occupation of Indonesia, Putu Wijaya's tenacity was seen in defending the world of authorship. This research on Putu Wijaya is grouped based on creativity and the periodization of Putu Wijaya from its inception

Opera Batak Sisingamangaraja XII Episode Ugamo Malim Horja Bolon Na Parpudi: Usungan Tradisi dan Kontemporer Enrico Alamo; Rosta Minawati; Sulaiman Sulaiman; Sherli Novalinda
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Batak Opera of Sisingamangaraja XII the Episode of Ugamo Malim Horja Bolon Na Parpudi: Carriying out the Tradition and Contemporary. The purpose of research and creation of Batak opera is to revitalize Batak traditional arts. Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi, results from the research and creation of the Sisingamangaraja XII Batak opera. The creation of Batak opera uses research methods, namely observation, interviews, literature study, and documentation. The working process begins with reading the script, making blocks according to the script, detailing blocking, playing the role/scenes, music, and tutoring, selecting and doing the artistic and lighting creation. Opera Batak was done in contemporary work, including story elements, jokes (amalopas), and even accompaniment (uning-uning). Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi tells the story of Ugamo Malim in the Dutch colonial era and the family of King Sisingamangaraja XII. The story’s plot consists of; news of the death of King Sisingamangaraja XII, the captivity of the Sisingamangaraja XII family, Ompu Ni Onggung, and Ompu Portahan Batu, who had a grudge against King Sisingamangaraja XII and followers of Ugamo Malim’s teachings. Tortor dance and Cawan dance were created contemporary. Sisingamangaraja Batak Opera XII, the episode of Ugamo Malim Horja Bolon Na Parpudi wants to maintain the existence and preserve the traditional arts of the Batak community.Keywords: Batak opera; Sisingamaraja XII; ugamo malim; tortor

“TIGA PEREMPUAN” ALIH WAHANA TEATER KE FILM ALAMO, ENRICO; WAHYUNI, SRI
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 23, No 1 (2021): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

AbstrakTulisan ini dilatarbelakangi oleh studi kasus terhadap pertunjukan teater Tiga Perempuan. Sebagai suatu pertunjukan, Tiga Perempuan memiliki potensi untuk diangkat menjadi sebuah karya film. Perubahan dari media panggung ke layar film ini bisa disebut alih wahana merupakan sumber gagasan awal yang dapat direspon oleh para sutradara. Tiga Perempuan berangkat dari isu ketahanan budaya. Perempuan sebagai pelaku dalam kesenian saluang dendang diangkat menjadi gagasan kekaryaan dengan merangkai alur konflik menggunakan tahapan multiplot. Perubahan ini dapat dilihat bagaimana kontruksi sinematografi dan mise-en-scene yang dapat digunakan. Menggunakan teori film dan alih wahana, maka pilihan dan tawaran yang memungkinkan dalam merespon pertunjukan teater tersebut salahsatunya, menggunakan data kualitatif yang telah didapatkan di lapangan, sehingga perubahan yang dilakukan dapat dianalisis secara deskriptif.AbstractThis paper is motivated by a case study of the Tiga Wanita theater performance. As a show, Tiga Perempuan has the potential to be made into a film. This change from stage media to film screens can be called the transfer of rides, a source of initial ideas that the directors can respond to. Tiga Wanita departed from the issue of cultural resilience. Women as actors in the art of saluang dendang are appointed as creative ideas by stringing conflict plots using multiplot stages. This change can be seen in how the construction of cinematography and mise-en-scene can be used. Using film theory and transfer of rides, the possible choices and offers in responding to the theatrical performance, one of them, is using qualitative data that has been obtained in the field so that the changes made can be analyzed descriptively.

Naki-Naki: Oral Tradition of the Karo of North Sumatra Minawati, Rosta; Alamo, Enrico
Budapest International Research and Critics Institute-Journal (BIRCI-Journal) Vol 6, No 4 (2023): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v6i4.7791

The purpose of this article entitled "Naki-naki: Oral Tradition of the Karo Tribe in North Sumatra" is to examine the context of the traditional courtship system among the young people using oral tradition (oral literature) in the Karo community that developed in ancient times. The Karo community has a unique tradition in finding a life partner. Karo youths, whether male or female, are encouraged to marry (erjabu) as soon as they reach adulthood. Adult males are referred to as "anak perana" and are identified by characteristics such as wearing long pants (saluar gedang) and sleeping in the traditional Karo building called "jambur." Adult females are known as "singuda-nguda" and are identified by characteristics such as menstruation, participation in youth work groups, including communal activities and involvement in artistic festivals (guro-guro-aron).The stages of introduction between young people begin with the tradition of "ngaras-ngaras" and continue with "ertutur." Ertutur can be done with the help of friends, family intermediaries, or directly. The introduction then progresses to a stage known as "Naki-naki." Naki-naki is the moment when the "anak perana" endeavors to convince the "singuda-nguda" to fully accept him for marriage. Naki-naki involves using the eloquent Karo language and is often done at night on the terrace of the house ("ture") or inside the house. The goal is for the couple and their families to get to know each other well.

The Playing Of Vasilli Svietlovidoff's Character In Anton P. Chekhov's Swan Song Translation Of Djohan A Nasution With Method Of Acting The Stanislavski System Lubis, Abdul Haris; Susanti, Desi; Alamo, Enrico
Creativity And Research Theatre Journal Vol 5, No 2 (2023): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v5i2.4110

Playing the character Vasilli Svietlovidoff in the script "Nyanyian Angsa" by Anton P. Chekhov, translated by Djohan A Nasution, is an effort to bring the character to life for performance. The formulation presented in this context is how to analyze the character of Vasilli Svietlovidoff and how to portray the character using Stanislavski's The System method. This conceptual framework employs a representational approach to realize a performance in a realistic style. The correlation between realism and The System method accommodates the actor to bring the character Vasilli Svietlovidoff to life realistically.

Pemeranan Tokoh HAM Dalam Naskah End Game Karya Samuel Beckett Terjemahan Asrul Sani Menggunakan Tehnik Akting Meisner Ramadhan, Alfian; Alamo, Enrico; Wenhendri, Wenhendri
Creativity And Research Theatre Journal Vol 7, No 1 (2025): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v7i1.5602

Penelitian berjudul Penerapan Unsur Dramatik Dalam Pertunjukan Teater Pemeranan tokoh HAM dalam lakon End Game karya Samuel Beckett, terjemahan Asrul Sani menggunakan pendekatan motode Meisner dengan teknik persiapan emosional, improvisasi dan pengulangan sebagai formula untuk mewujudkan tokoh HAM pada sebuah pertunjukan teater.. Penciptaan pemeranan tersebut diawali dengan analisis struktur dan tekstur tokoh HAM. Bagian dari analisis struktur tokoh HAM meliputi aspek fisiologi, psikologi dan sosiologi tokoh. Analisis tekstur tokoh meliputi dialog dan spektakel. Hasil dari analisis dan tafsir pemeran terhadap tokoh tersebut dijadikan pedoman dalam upaya proses penciptaan tokoh, dengan bertumpu pada pendekatan peran dan daya cipta melalui potensi dan kekayaan batin, yang secara akademik dimiliki oleh pemeran Penciptaan tokoh HAM pada pertunjukan teater adalah satu upaya untuk memahami kembali pikiran-pikiran absurd yang tercermin berdasarkan perwujudan tokoh yang menunjukkan keadaan tragis dan juga komedi.

PELATIHAN KELOMPOK SANDIWARA DAN PEMANTAPAN MANAJEMEN KELOMPOK DI KELURAHAN GANTING PADANGPANJANG, SUMATERA BARAT Alamo, Enrico; Susanti, Desi; Saaduddin, Saaduddin
Batoboh Vol 3, No 1 (2018): Batoboh: Jurnal Pengabdian Pada Masyarakat
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/bt.v3i1.377

Ganting Kenagarian Ekor Lubuk Padang Panjang Timur dulunya memiliki kelompok sandiwara yang ditemukan pentasnya pada acara pemuda maupun hajatan kampung, sayangnya kelompok sandiwara ini tidak aktif lagi bahkan tidak terdengar dalam bentuk grup. Faktor utama yang melatari hilangnya kesenian sandiwara ini karena minimnya pengetahuan dan pengkaderan anggota. Beberapa wawancara yang dilakukan, ada kerinduan pada kelompok sandiwara ini, agar kelompok sandiwara tersebut dapat tumbuh dan berkembang kembali. Pelaku sandiwara di kelurahan Ganting saat ini sebagian besar berusia 50-70 tahun. Menjawab hal ini diperlukan pelatihan-pelatihan sandiwara meliputi manajemen maupun artistik yang diharapkan dapat menyesuaikan pada zaman masa sekarang.

Analisis Struktur Pertunjukan Opera Batak Sisingamangaraja XII: Episode Tongtang I Tano Batak Sulaiman, Sulaiman; Minawati, Rosta; Alamo, Enrico; Novalinda, Sherli
PANGGUNG Vol 29 No 2 (2019): Konstruksi Identitas Budaya dalam Seni dan Sastra
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i2.908

ABSTRACTOpera Batak is a “traditional” performance genre from the Toba Batak ethnic group. Opera Batak is staged based on oral tradition through acting, music and dance. The creation of works aims to preserve Sisingamangaraja XII's historical values. The method is carried out beginning with research through observation, interviews, literature studies with steps to work on the search phase, the stage of giving content, the development stage, and the stabilization stage.Transitions of performers and sections are accompanied musical instruments including gondang, suling, serunai, kedapi, hesek, odap and garantung. This mixture is intended to bring the drama to life and entertain the audience. The figures in Opera Batak are Sisingamangaraja XII, Patuan Anggi, Putri Lopian, Boru Sagala, Somaling, Panglima Sarbut and Panglima Amandopang. his episode tells how the war against the Dutch company in the Batak land for about 30 years. Arranged with a flow, dramatic, and conflicting conflict to show Sisingamangaraja's humanity and kinship side in the face of war.Key Word: Opera Batak, Theater, Sisingamangaraja XII, Tongtang I Tano BatakABSTRAKOpera Batak merupakan seni pertunjukan ‘tradisi’ dalam masyarakat Batak.Opera Batak ditampilkan melalui sastra lisan, pemeranan, musik, dan tarian. Penciptaan karya bertujuan untuk melestarikan nilai-nilai kesejarahan Sisingamangaraja XII. Metode dilakukan diawali dengan riset melalui observasi, wawancara, studi pustaka dengan langkah garap; tahap pencarian, tahap memberi isi, tahap pengembangan, dan tahap pemantapan. Opera Batak dipandu pencerita dalam mengenalkan tema, menyapa penonton, menggambarkan kisah, dan menggenalkan pemain. Peralihan pemain dan bagian diiringi musik yang terdiri atas: gondang, suling, sarunai, kecapi, hesek, odap, dan garantung. Tokoh Opera Batak dalam episode Tongtang I Tano Batak adalah Sisingamangaraja XII, Patuan Anggi, Putri Lopian, Boru Sagala, Somaling, Panglima Sarbut, dan Panglima Amandopang. Episode ini menceritakan bagaimana perperangan melawan kompeni Belanda di tanah Batak yang kurang lebih 30 tahun lamanya. Disusun dengan alur, dramatik, dan konflik yang rapat untuk memperlihatkan sisi kemanusian dan kekeluargaan Sisingamangaraja dalam menghadapi perperangan.Kata Kunci: Opera Batak, Teater, Sisingamangaraja XII, Tongtang I Tano Batak

Co-Authors Abdul Haris Lubis, Abdul Haris Desi Susanti Ramadhan, Alfian Rosta Minawati Saduddin Saaduddin Sherli Novalinda Sri Wahyuni Sulaiman Sulaiman Sulaiman Sulaiman Wenhendri, Wenhendri

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