Article Per Year (5 Year)
p-Index From 2021 - 2026
1.532
P-Index
This Author published in this journals
All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Journal of Urban Society´s Arts Panggung Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Tonil, Jurnal Kajian Sastra, Teater dan Sinema Wayang Nusantara: Journal of Puppetry IDEA: Jurnal Seni Pertunjukan Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Locus
Hirwan Kuardhani
Institut Seni Indonesia Yogyakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 13 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 13 Documents
Search

 1   2 
Penciptaan Peran Tokoh Xiau Mei dalam Naskah Senja dan Penantian Karya Hernandes Saranela Terinspirasi dari Film The Chinese Widow Shinta Kusuma; Hirwan Kuardhani; Rukman Rosadi
Dance and Theatre Review Vol 3, No 2: November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2617.492 KB) | DOI: 10.24821/dtr.v3i2.4420

Abstract

The Creation of the Character of Xiao Mei in the Play Script of Senja dan Penantian by Hernandes Saranela Inspired by The Chinese Widow Film. The script of Senja dan Penantian written by Hernandes Saranela, tells about the waiting of a Chinese descent girl waiting for her lover to return from the battlefield. This realism script of the play presents its challenges and requires a lot of references. The Chinese Widow film is a source of ideas. Ying's character as the main character is lovely because the play's depth brings out firm acting details. The actress made a series of observations and used the presentation approach to creating the Xiao Mei's character. The creation of this work aims to describe how the actress can portray the character's inner act by using Stanislavski's acting method. In her acting, the actress attains awareness of playing her roles to make the weakness of Xiao Mei's character's strength and uniqueness.Keywords: actor; acting; film
Potehi Puppet (布袋戲) in Java Hirwan Kuardhani
Dance and Theatre Review Vol 1, No 1: May 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1558.448 KB) | DOI: 10.24821/dtr.v1i1.2247

Abstract

AbstractPotehi (布袋戏) puppet theater in Java is called as Chinese puppet and originated from Fujian (福建) and Guangdong (广东) Province. Chinese puppets that were allegedly meant here is Potehi because the forms of other kinds of puppet theater from China was not discovered the traces. Leather puppet, such as Purwa, or string puppet (marionette), or even Rod puppet is not recognized by the Javanese people, most of them are only familiar with Potehi Chinese puppet. This is confirmed by the data that most Chinese emigrants who came to Java is the Hokkien (Fujian) who owned Potehi puppet theater. Some of Potehi playhouse stage are in the form of permanent building of a brick wall that has been decorated with images of deities or knock -down building which is similar to ronda substations that can be assembled. When Potehi stage is used for shows in pagoda, it will be included in the playhouse stage. It is different if the shows take place outside the pagoda, such as in malls, galleries, churches, festivals and so on, then it will be without the playhouse stage. Potehi stage shaped like a castle building with division of imaginary spaces. The upper part is the sky or deities’ palace, and the bottom is the human castle. It can also be interpreted as two natures; macrocosm and microcosm. The Sky Palace keep supervising the administration of human castles that have been mandated to regulate human. General grip of Potehi Puppet Theatre in Java includes: material story and a common way of presenting the general grip of the story of Potehi Puppet Theatre in Java that include: materials and way of presenting sequence actions stories that are taken by sehu and the board of pagoda when holding Potehi show in pagoda are as follow: 1 Sehu prepares the figures. 2. Sehu with Lauw Cu (the board of pagoda) perform Puak Poe rituals. 3. Sehu prepare the staging equipment. 4. The show is based on the agreed time with pagoda sides. Potehi shows for the Chinese community carry out ritual, social, and educational functions.Keywords: puppet theater; Potehi; Javanese performanceAbstrakWayang Potehi di Jawa. Teater Boneka Potehi di Jawa disebut sebagai pertunjukan boneka Cina yang berasal dari Provinsi Fujian dan Guandong. Diduga pertunjukan Potehi datang ke Pulau Jawa pada abad ke-16. Wayang Potehi dikenal sebagai wayang Cina karena bentuknya tidak ditemukan di wilayah Jawa. Wayang kulit di Jawa sama dengan wayang Purwa, wayang bertangkai di Jawa dikenal dengan wayang golek. Teater boneka Potehi dibawa para emigran Hokkian (Fujian) ke Jawa, dan dimainkan pada panggung permanen ataupun panggung yang berpindah. Ketika pertunjukan Potehi dimainkan di Kelenteng, digunakan stage yang permanen berbentuk rumah-rumahan. Hal demikian berbeda dengan pertunjukan yang dimainkan di luar Kelenteng, seperti di mal, galeri seni, gereja, atau festival-festival. Panggung Potehimerupakan perwujudan simbol dunia, yakni paling atas adalah istana langit yangmerupakan tempat para dewa, sementara bagian bawah adalah istana manusiabiasa atau tempat masyarakat biasa. Hal tersebut dapat digambarkan sebagaialam makrokosmos dan alam mikrokosmos. Secara keseluruhan, pementasanPotehi di Jawa masih mengikuti patokan, lakon, tatacara Potehi asalnya, yaitu:1. Sehu atau dalang menyiapkan lakon dan mengajukan judul lakon yang akandibawakan. 2. Sehu bersama Lauw Cu (petugas upacara) melakukan ritual PuakPoe. 3. Sehu mendapatkan persetujuan mengenai lakon yang akan dibawakan. 4. Pertunjukan digelar berdasarkan lakon yang telah disetujui dewa. PertunjukanPotehi bagi komunitas masyarakat Tionghoa membawa serta fungsi sosial, ritual,dan pendidikan.Kata kunci: teater boneka; Potehi; pertunjukan Jawa
Environmental Theatre in the Bakaba Performance of the Kacang Manoge Community, Pesisir Selatan, West Sumatra Rinasari Rinasari; Hirwan Kuardhani
Journal of Local Culture Study Vol. 2 No. 02: December, 2024
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v2i02.19

Abstract

Bakaba is a solo-narrator performance tradition of the southern coast of West Sumatra, in which a storyteller delivers a spoken and sung tale to the accompaniment of a three-stringed spike fiddle. Scholarship on the tradition has concentrated on its musical dimension, documenting the sung repertoire while leaving the theatrical organisation of the performance, and the mechanisms by which particular troupes remain in demand, largely unexamined. This article examines the form of one such performance and the conditions of its persistence. It analyses a five-hour staging of the tale Darito Anak Jo Minantu given by the Kacang Manoge Community at a wedding celebration in Nagari Sungai Tunu, Ranah Pesisir, on 1 June 2021, observed and recorded during fieldwork carried out between 28 May and 1 June 2021 and supplemented by interviews with five members of the troupe: its founder, its current leader, its narrator, a singer, and a fiddle player. Richard Schechner’s axioms of environmental theatre supply the analytical frame, applied to a transcript of the performance and to the interview material. The performance realises four defining features of folk traditional theatre and follows a five-part dramatic structure marked by four named types of song, sustained throughout by improvisation operating at the level of dialogue and texture rather than of plot. Its persistence rests on continually new, personally sourced tales, the inscription of spectators into the narration, patterned improvisation, and a post-performance discussion that turns listeners into future patrons.
Co-Authors A. Janu Haryono Al-Hamdany, Ahmadul Musthofa Antonius Janu Haryono C. Bakdi Soemanto Fitri Rahmah Fitria Rahmah Lono Lastoro Simatupang Marella, Arisanti Nanang Arisona Nurrohmah, Syavira Pius Rino Pungkiawan Rinasari Rinasari Rukman Rosadi Septiyani, Ivanka Yenny Shinta Kusuma Silvia A. Purba Silvia Anggreni Purba Surya Farid Sathotho Timbul Haryono Wahid Nurcahyono Yudiaryani