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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

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))

Sehu: Dalang Wayang Potehi (布袋戲) di Jawa Hirwan Kuardhani
Wayang Nusantara: Journal of Puppetry Vol 2, No 1 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v2i1.2996

Potehi is a hand-glove puppetry theatre art form, brought by the Chinese emigrant from Fujian in the sixteenth century. It used to be performed in their vessels (Jung-Jung) when they were docked. The Hokkian dialect was used at that time. As more Chinese immigrants settled down in Indonesia, they carried along the Potehi art in Java. Along the way, Potehi ceased to be performed in Hokkien dialect. Instead, it was Melayu Pasar or Melayu rendah (now Indonesian Language) being used, which was indeed the lingua franca among the Chinese community then. Nevertheless songs and poetry were still in Hokkian. Sehu called dalang Potehi. Was originally sehu as Hokkian true, a long the way sehu as Pranakan’s Tionghoa an than in this time sehu from etnic Java. The acculturation with the local society resulted in a very unique Potehi which was different from its original version. Potehi merupakan pertunjukan sarung tangan, yang dibawa para emigran China dari Fujian sekitar abad enam belas. Potehi biasanya dipertunjukkan di Jung-jung atau kapal-kapal mereka ketika sedang mendarat. Mereka menggunakan bahasa Hokkian dalam pertunjukannya. Ketika orang-orang Tionghoa menetap di Indonesia mereka membawa serta kesenian Potehi di Jawa. Pada perkembangannya pementasan Potehi tidak lagi menggunakan bahasa Hokkian melainkan menggunakan bahasa Melayu Pasar atau Melayu Rendah (sekarang bahasa Indonesia), bahasa yang sekaligus menjadi bahasa pengantar kaum Tionghoa saat itu. Walaupun untuk lagu dan syair masih memakai bahasa Hokkian. Sehu merupakan sebutan bagi dalang wayang Potehi. Awalnya sehu adalah orang Hokkian asli, pada perkembangannya adalah orang-orang Peranakan, dan saat ini sehu dari etnis Jawa. Proses akulturasi dengan penduduk setempat membuat pertunjukan Potehi menjadi unik dan berbeda dengan negeri asalnya.

Implementation of Deconstruction Method Ideas In The Contemporary Theatre of Pilihan Pembayun Yogyakarta Yudiaryani Yudiaryani; Hirwan Kuardhani; Silvia Anggreni Purba
Journal of Urban Society's Arts Vol 9, No 1 (2022): April 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v9i1.6694

The presence of contemporary theatre performing arts in Indonesia can not be separated from the history of theatrical performing arts in areas in Indonesia. “Contemporary” refers to the situation in space and time today and is a way of pointing to the development and change of theatre in these areas. Today’s performing arts are undergoing significant changes in their form and content. It was inspired by the discovery of science and technology and the dynamics of the world’s cultural ideas in the 20th century. Hans Thies Lehmann’s post-dramatic ideas around the 1980s in Europe, among others, inspired the emergence of new creativity studies internationally. Performing arts transformed itself from an ‘art performance’ into an intercultural and interdisciplinary performance of art by dismantling and rebuilding elements of its performances. The research theme is the development of science within art, while the research topic is the utilization of art theory to create works of art. The study aims to examine theories and deconstruction methods based on post-dramatic ideas that improve the quality of intercultural and gender theatre creation. The specific research target is to discover the benefits of deconstruction theory for creating contemporary theatre. The theatrical performance chosen in this study was The Pilihan Pembayun, a drama script by Hirwan Kuardhani and directed by Yudiaryani and Wahid Nurcahyono. Research methods use qualitative description methods. Qualitative methods look for the meaning behind data with interpretive and thorough analysis techniques. Data collection techniques with participant elevation, interviews, observations, field records, and documents will be used in the research. The research results obtained are the theoretical foundation for eliminating the negative aspects of intercultural and gender communication in the performing arts. Kehadiran seni pertunjukan teater kontemporer di Indonesia tidak lepas dari sejarah kehadiran seni pertunjukan di daerah-daerah di Indonesia."Kontemporer" mengacu pada situasi dalam ruang dan waktu saat ini dan merupakan cara untuk menunjuk pada pengembangan dan perubahannya. Seni pertunjukan saat ini sedang mengalami perubahan signifikan dalam bentuk dan konten. Hal tersebut terinspirasi oleh penemuan ilmu pengetahuan dan teknologi dan dinamika ide-ide budaya dunia di abad ke-20. Ide-ide pasca-dramatik Hans Thies Lehmann sekitar tahun 1980-an di Eropa, antara lain, mengilhami munculnya studi kreativitas baru secara internasional. Seni pertunjukan mengubah dirinya dari 'pertunjukan seni' menjadi pertunjukan antarbudaya dan interdisipliner dengan membongkar dan membangun kembali elemen pertunjukannya. Tema penelitian adalah pengembangan sains dan teknologi dalam ranah seni, sedangkan topik penelitian adalah pemanfaatan teori seni untuk penciptaan karya seni. Studi ini bertujuan untuk memeriksa teori dan metode dekonstruksi berdasarkan ide-ide pascadramatik yang bermanfaat untuk meningkatkan kualitas penciptaan teater antarbudaya dan gender. Pertunjukan teater yang dipilih dalam penelitian ini adalah Pilihan Pembayun, naskah Hirwan Kuardhani dan disutradarai oleh Yudiaryani dan Wahid Nurcahyono. Tujuan spesifik dari penelitian ini adalah untuk menemukan manfaat dari teori dekonstruksi untuk penciptaan teater kontemporer. Metode penelitian menggunakan metode deskripsi kualitatif. Metode kualitatif mencari makna di balik data dengan teknik analisis interpretatif dan menyeluruh. Teknik pengumpulan data dengan wawancara, pengamatan, dan catatan lapangan, serta penggunaan dokumen. Hasil penelitian yang diperoleh adalah pemanfaatan teori sebagai dasar menghilangkan dampak negatif dari komunikasi antarbudaya dan gender dalam penciptaan pertunjukan kontemporer.

Expanding Technologized Theatre to Perform Intermedial Dramaturgy Yudiaryani; Hirwan Kuardhani; Pius Rino Pungkiawan
Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Vol. 1 No. 1 (2024): Proceeding to The 1st International Conference on Arts, Media, and Culture (ICA
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar

This article attends to how the utilization of technological devices in twenty-first-century theatre performances can influence audiences' perception of the relationship between humans and technology. Representing artists' work in the fields of new media dramaturgy, intermedial performance strengthens the role of the human body in performance by organizing the embodiment as a technologized theatre strategy. This means that through theatrical technologization, the theatre expands into intermedial performance. This research applies Marco de Marinis' semiotic theory and Chiel Kattenbelt's intermedial theory as the formal objects. A contemporary performance, Jack the Robot performance, becomes the material object. The research uses a hermeneutic qualitative method. The data analysis technique is to reduce and classify data to discover concepts and theories between data in practice. The findings show that dramaturgy is no longer treated only as science, technology, and art, but its benefits are extended to society. Human resources' creativeness and expanded capacity return the body of art organically into interdisciplinary, intercultural, and educational embodiment. Dramaturgy, expanded with theatrical technologization, in its exploration extends to the intersection between embodiment, mise-en-scène, intermedial space, and its impact on the audiences' perception.

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

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).

PENCIPTAAN NASKAH DRAMA TIGA WANITA TERINSPIRASI DARI FENOMENA GENERASI SANDWICH Septiyani, Ivanka Yenny; Kuardhani, Hirwan; Arisona, Nanang
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 17, No 2 (2023): Vol 17, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v17i2.10594

Tiga Wanita adalah naskah lakon yang terinspirasi dari fenomena generasi sandwich. Penciptaan naskah lakon Tiga Wanita menggunakan teori dramaturgi. Kemudian didukung oleh teori dimensi karakter Lajos Egri dan teori struktur Kernodle. Penciptaan naskah lakon Tiga Wanita bertujuan untuk menghasilkan karya baru yang terinspirasi dari generasi sandwich. Penulis menggunakan metode Graham Wallas yang dimulai dengan mencari data-data serta informasi terkait generasi sandwich, pengolahan ide, membuat sinopsis, treatment, penulisan naskah lakon, reading, kemudian tahap pengujian dramatic reading sebelum penyempurnaan naskah.Hasilnya berupa naskah Tiga Wanita, mengisahkan tentang seorang wanita yang terkena dampak generasi sandwich. Menempatkan Lusi sebagai tokoh utama yang merupakan seorang wanita yang bekerja sebagai buruh pabrik harus menghidupi orang tua tunggal dan anak tunggalnya sendirian. Lusi juga korban pemerkosaan, kemudian anaknya dibully karena miskin. Melihat kesengsaraan dalam kehidupannya membuat Lusi gelap mata dan memilih untuk membunuh keluarganya dan dirinya sendiri. The Creation of the Drama Script Tiga Wanita Inspired by the Sandwich Generation PhenomenonTiga Wanita is a play script inspired by the sandwich generation phenomenon. The creation of the Three Women play script utilizes dramaturgy theory, supported by Lajos Egri's character dimension theory and Kernodle's structural theory. The creation of the Three Women play script aims to produce a new work inspired by the sandwich generation.The writer employs Graham Wallas' method, which begins by gathering data and information related to the sandwich generation, processing ideas, creating a synopsis, treatment, writing the play script, conducting readings, and then testing dramatic reading before refining the script.The result is the ‘Tiga Wanita’ script, which depicts the story of a woman affected by the sandwich generation. Lusi is portrayed as the main character, a factory worker who must support her elderly parents and her only child alone. Lusi is also a victim of rape, and her child is bullied due to their poverty. Witnessing the hardships in her life, Lusi becomes overwhelmed and chooses to kill her family and herself.

Analisis Film Tiga Dara Tahun 1956 Karya Usmar Ismail: Pandangan Politiknya dan Kajian Unsur Male Gaze Marella, Arisanti; Kuardhani, Hirwan; Yudiaryani, Yudiaryani
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 18, No 1 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v18i1.12067

Tiga Dara merupakan sebuah film tahun 1956 yang disutradarai oleh Usmar Ismail, yang menceritakan tentang kisah asmara tiga bersaudara perempuan. Film telah dikenal sebagai media hiburan sejak jaman dahulu, film memiliki sejarah yang berpengaruh dalam kemajuan film di Indonesia. Pengaruh patriarki jaman dahulu sangat kental yang dapat menciptakan pandangan pria dalam industri film baik pengkaryaan di balik layar dan di depan layar. Penelitian ini menggunakan teori film yang di bagi menjadi dua yaitu unsur naratif dan unsur sinematik. Teori male gaze merupakan teori yang dicetuskan oleh Laura Mulvey. Male gaze muncul karena adanya pandangan mengenai sudut pandang pria dalam dunia film, tatapan pria muncul karena pengaruh patriarki yang melihat kekuasaan pria sehingga terlihat penggambaran mengenai perempuan dalam film. Film Tiga Dara menjadi contoh film yang dibuat sebagian besar pengkaryaan di depan maupun di balik layar yang di dominasi oleh pria yang akan berpengaruh dalam pandangan pria terhadap perempuan. Penelitian ini bertujuan untuk melihat pandangan pria dalam film Tiga Dara. Analysis of the 1956 film Tiga Dara by Usmar Ismail: political views and study of male gaze element.Tiga Dara is a 1956 film directed by Usmar Ismail, Tiga Dara tells the story of the romance journey of three sisters, film has been known as an entertainment medium since antiquity, film has an influential history in the progress of film in Indonesia. The influence of patriarchy in the past is very thick which can create a male view in the film industry both behind the scenes and in front of the screen. This research uses film theory which is divided into two, namely narrative elements and cinematic elements The male gaze theory is a theory coined by Laura Mulvey, the male gaze arises because of the view of the male point of view in the world of film, the male gaze arises because of the influence of patriarchy that sees male power so that there are depictions of women in the film. Tiga Dara is an example of a movie that was made mostly in front of and behind the scenes dominated by men, which will affect men's views on women. This study aims to look at men's views in Tiga Dara movie

Penciptaan Naskah Drama “Ibu dan Matematika” berdasarkan Fenomena Childfree dengan Semangat Pembebasan Tubuh Perempuan Nurrohmah, Syavira; Yudiaryani, Yudiaryani; Kuardhani, Hirwan
IDEA: Jurnal Ilmiah Seni Pertunjukan Vol 18, No 2 (2024)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/idea.v18i2.13408

“Ibu dan Matematika” adalah naskah drama yang mengeksplorasi hubungan antara peran-peran perempuan, cinta, dan fenomena tanpa anak dengan pendekatan dekonstruksi. Penulis mendekonstruksi konsep-konsep tradisional mengenai peran perempuan dalam hubungan di dalam rumah tangga, menyoroti ketegangan antara harapan sosial dan realitas tubuh perempuan. Fenomena tanpa anak menjadi fokus utama untuk memahami pilihan perempuan yang memutuskan untuk tidak memiliki anak, mengeksplorasi dinamika kompleks dalam masyarakat. Matematika, sebagai elemen tambahan, diintegrasikan ke dalam naskah sebagai simbol pemahaman diri dan eksplorasi identitas perempuan. Melalui dekonstruksi, matematika menjadi bukan hanya sebagai sarana komunikasi abstrak, tetapi juga sebagai refleksi perjalanan mencari makna dalam kehidupan perempuan. Semangat pembebasan tubuh perempuan tercermin dalam karakter yang memainkan peran sebagai ibu, menggambarkan ketegangan dan konflik dalam perjuangan menuju kebebasan di dalam masyarakat yang terkadang kadang membatasi. Teks ini menawarkan pandangan kritis terhadap stereotip tradisional dan norma sosial seputar tubuh perempuan.The Creation of the Drama Script “Ibu dan Matematika” Based on the Childfree Phenomenon with the Spirit of Women's Body Liberation“Ibu dan Matematika” (Mother and Mathematics) is a drama script that explores the relationship between women's roles, love, and the childfree phenomenon through a deconstructive approach. The author deconstructs traditional concepts of women's roles within household relationships, highlighting the tension between societal expectations and the realities of women's bodies. The childfree phenomenon becomes a central focus to understanding the choices of women who decide not to have children, delving into the complex dynamics within society. As an additional element, mathematics is integrated into the script as a symbol of self-understanding and the exploration of female identity. Through deconstruction, mathematics transcends its role as an abstract communication medium and reflects the journey to find meaning in women's lives. The spirit of women's body liberation is reflected in characters who play the role of mothers, portraying tensions and conflicts in the struggle for freedom within a society that sometimes imposes limitations.

Intermediality as an Extension of The Postdramatic: Dramaturgical Trajectories in Pilihan Pembayun and Dialog Antigone Yudiaryani Yudiaryani; Hirwan Kuardhani; Silvia Anggreni Purba; Wahid Nurcahyono; Pius Rino Pungkiawan; Antonius Janu Haryono; Fitria Rahmah
Journal of Urban Society's Arts Vol 13, No 1 (2026): April 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jousa.v13i1.17564

This article examines how intermedial theatre operates as an extension of postdramatic conditions through contemporary Indonesian performance practices. Focusing on two practice-based works, Pilihan Pembayun and Dialog Antigone, the study analyses how dramaturgical configurations shift from body–tradition relations toward increasingly intermedial body–media formations. Rather than positioning intermediality as a separate aesthetic category, the article argues that intermedial theatre develops from the relational logic of postdramatic performance, in which meaning emerges through interactions among bodies, media, sound, space, and technological systems. Using a practice-as-research framework, the study examines dramaturgical structures, directing strategies, and intermedial compositions to explore how theatrical agency is redistributed across human and nonhuman elements. In Pilihan Pembayun, performative relations remain strongly connected to ritual memory, collective affect, and embodied tradition, while Dialog Antigone intensifies fragmentation through digital media, visual projections, and dispersed performative agencies. Through this comparative dramaturgical trajectory, the article demonstrates that intermediality transforms not only theatrical form but also the relational operation of power, embodiment, and spectatorship in contemporary performance. Furthermore, the article positions Indonesian theatre practice not merely as a local application of Western theory, but as a site of conceptual production contributing to global debates on postdramatic theatre, intermedial dramaturgy, and performance epistemology.

Teknologisasi Pertunjukan Dalam Kontestasi Dramaturgi Tradisi dan Modern Bagi Ketahanan Nasional Yudiaryani; Hirwan Kuardhani; Pius Rino Pungkiawan; Silvia A. Purba; A. Janu Haryono; Fitri Rahmah
PANGGUNG Vol 36 No 1 (2026): Echoes of Archipelago Mythos: Interweaving Tradition, Symbolism, and Narrative i
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v36i1.4434

Theatre develops through shifting relations among body, space, and technology. Digital mediation does not merely introduce new aesthetic instruments but reconfigures dramaturgical structures and modes of knowledge production. Dramaturgy, therefore, must be understood as an epistemic practice organizing interactions among body, media, and spectatorship rather than as textual composition alone. This article reads the technologization of theatre as a shift from representation toward performativity and interactivity. The encounter between traditional and contemporary practices reveals technology as a negotiated field: disruptive within certain value systems yet generative of new aesthetic and conceptual possibilities. Through dramaturgical analysis, three interrelated configurations are identified—mimetic, epicising, and interactive—through which technologization operates as an epistemic condition. Theatre thus appears not only as artistic production but as practice-as-research, where knowledge emerges through performative processes.

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