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All Journal Acintya Lakon Jurnal Pengkajian & Penciptaan Wayang Jurnal Adat dan Budaya Indonesia
Tafsir Hudha
Institut Seni Indonesia Surakarta
Religion Arts Humanities Education

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Karakterisasi Tokoh Suhartini Dalam Monolog Pengakuan Seorang Wanita Pemalu Karya Iswadi Pratama Tafsir Hudha
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4106

Abstract

The script for the Confession of a Shy Woman, the adaptation of the Iswadi Pratama script, is a monologue script, which is a form of single play or individual role art (which is the actor’s singularity) the conflict in the play must be able to be fully described. Monologue is considered as one of the peaks of personal (individual) acting ability which is used as a starting point for the strength of collective acting or ensemble acting, which is a form of acting which is a means of describing conflicts in theater that rests on ‘dialogue’ and is no longer just ‘monologue’. In creating the characterization of Suhartini’s character, it must be based on deepening the script to find the character’s vision, impulse or encouragement of the character, the character’s motivation and the emotional depth of the character. This requires work to explore the problems faced by the characters, formulate character characterizations and the next work is to transform character characterizations into the characters themselves. Such tracing requires analytic work on the script to be played, especially characterization analysis, further processing of the action, requires precision in order to achieve maximum results. Suhartini’s character in the manuscript Confession of a Shy Woman, is a picture of an introverted woman who has strong principles in life, and upholds her self-esteem, but has shy, pendian and anti-social characteristics.
Struktur Naskah Ludruk Lakon Mliwis Hitam Tafsir Hudha
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 17, No 1 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v17i1.4944

Abstract

This research is entitled Analisis Struktur Naskah Ludruk Lakon Mliwis Hitam. This research focused on documenting folk theater in form ofwriting manuscript and the structural analysis. The script will no longer be developed into a wos, but into a modern structure one. The existence of Mliwis Hitam script is become an affirmation of folk art embodying solicitation of theater spirit in Nusantara. It is worthwhile that it can emerge new idiom to enrich kinds of theater in Indonesia. Structural analysis of Mliwis Hitam script is also done to ease director and actors to understand the story. This analysis can also be a reference in transformation process from textual script into a dramatic scene on stage.
KRITIK SOSIAL TEATER EPIK DALAM STRUKTUR LAKON TUK KARYA BAMBANG WIDOYO SP Hudha, Tafsir
Acintya Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3562.315 KB) | DOI: 10.33153/acy.v1i1.21

Abstract

A study of epic theory and its aplication (social realism) is an attempt to search a set and several epic methods which invented through the Tuk’s plays of Bambang Widoyo SP creation. This article will begin from a study of epic theater and its existence generally and its point of view related to social condition which inspires and pointed its audience either. This article traces and focuss on both the relation and its impacts among social realities and theater expression, and its relation to validity of the social realism’s theories (epic theories) in the theater. According to this article, the Tuk’s play of Bambang Widoyo’s creation will be analyzed from its structure of Tuk’s plays itself and its texture. By the end of this article, the Tuk’s plays of Bambang Widoyo’s creation may inspires the audiences through its tracing’s attemption of epic theory in the plays itself.Keyword : epic theory, theater, social criticism, structure, texture
PROSES KREATIF PEMERANAN RUTH MARINI DALAM MONOLOG WANCI KARYA IMAS SOBARIA Hudha, Tafsir
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (502.151 KB) | DOI: 10.33153/acy.v9i1.2126

Abstract

Ruth Marini’s creative process in performing Wanci Monologue by Imas Sobariah, was Ruth Marini’sattempt in exploring various stages of work or creativity in the role of Icih as the main character in WanciMonologue. As a consequence of the singular characterization of the monologue, the subsequent searchwas directed at the specific creativity that Ruth Marini had done in transforming the Icih character to therole of several other figures as a result of Icih’s narrative of her past which later spawned tragic stories inher life. The search for this creative process was thus focused on the creative ways that Ruth Marinipursued in developing role play or acting, including the stimulants that supported the maximal acting ofRuth Marini in the Imas Sobariah’s Wanci Monologue.Stimulants that were excavated for the developmentof Ruth Marini’s acting was traced through various views of Ruth Marini works of art, especially RuthMarini’s perspective on acting in a monologue. The conclusion of the views of art and acting would bepreceded by exploring some of Ruth Marini’s works of art through previous performances to understandRuth Marini’s contributions to her artistic enrichment process, specifically to the development of actingthat was required in the Wanci Monologue by Imas Sobariah.Keywords: Monologue,art perspective, acting.
PEMASARAN SENI PERTUNJUKAN RAKYAT DI INDONESIA MELALUI PLATFORM DIGITAL SENIPEDIA.COM Novianto, Wahyu; Murtono, Taufik; Hudha, Tafsir
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4575

Abstract

The rapid pace of technology in the 4.0 era constructs conventional transaction models into digital transactions with the growth of various digital startups. The use of digitalization for folk performing arts is still not maximally accommodated, even though the internet has spread to villages. Although various conceptions and discourses on the digitization of folk performing arts continue to roll out, they are only carried out by academics and only a small part of the performing arts community is able to utilize the internet and gadgets for means of communication and interaction with a wide audience. This study shows the utilization of digital internet technology that has changed the pattern of face to face interaction to screen to face through the digital application Senipedia.com as one of the start-ups engaged in the realm of folk performing arts development in Indonesia. The various benefits of marketing through the Senipedia.com digital application are becoming a meeting place for all groups to form the habit of assessing and being judged virtually, preserving cultural heritage and historical values that are useful in the future, and becoming an archive that can be reused as educational material that contains values of mutual cooperation, a sense of independence, freedom of expression, and the formation of mutual appreciation of folk performing arts through the digital-virtual world.
Makna Dualistik Gerak Akrobatik Bujang Ganong dalam Reog Ponorogo Rasi, Selviano Boby Rome; Hudha, Tafsir
Jurnal Adat dan Budaya Indonesia Vol. 7 No. 2 (2025)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jabi.v7i2.101259

Abstract

Penelitian ini mengkaji dualisme makna akrobatis tokoh Bujang Ganong dalam pertunjukan Reog Ponorogo melalui perspektif carnivalesque. Bujang Ganong menampilkan paradoks antara kedudukan sebagai patih yang berwibawa dengan peran penghibur rakyat yang jenaka. Gerakan akrobatik yang ditampilkan bukan sekadar hiburan fisik, melainkan manifestasi keterampilan teknis rumit dan medium komunikasi simbolis untuk menyampaikan kritik sosial. Penelitian ini menggunakan pendekatan kualitatif deskriptif analitis, melalui analisa dokumentasi pertunjukan dan wawancara langsung dengan para praktisi. Analisis data dilakukan melalui triangulasi teoritis. Hasil penelitian menunjukkan dualisme makna akrobatis Bujang Ganong termanifestasi dalam tiga dimensi: narasi (pemberani sekaligus penakut), gerak (akrobatik lincah sekaligus lucu), dan permainan (ditakuti namun digemari penonton). Gerakan akrobatik berfungsi sebagai strategi perlawanan non-konfrontatif yang memungkinkan pembalikan hierarki sosial melalui demonstrasi kemampuan alternatif. Berdasarkan perspektif carnivalesque, gerak akrobatik menciptakan ruang kritis yang memungkinkan kontestasi identitas antara nilai tradisional-modern dan otoritas formal-resistensi informal. Dualisme ini memungkinkan Bujang Ganong mengintegrasikan identitas bertentangan dalam satu kesatuan performativitas harmonis.
KRITIK SOSIAL TEATER EPIK DALAM STRUKTUR LAKON TUK KARYA BAMBANG WIDOYO SP Hudha, Tafsir
Acintya Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v1i1.21

Abstract

A study of epic theory and its aplication (social realism) is an attempt to search a set and several epic methods which invented through the Tuk’s plays of Bambang Widoyo SP creation. This article will begin from a study of epic theater and its existence generally and its point of view related to social condition which inspires and pointed its audience either. This article traces and focuss on both the relation and its impacts among social realities and theater expression, and its relation to validity of the social realism’s theories (epic theories) in the theater. According to this article, the Tuk’s play of Bambang Widoyo’s creation will be analyzed from its structure of Tuk’s plays itself and its texture. By the end of this article, the Tuk’s plays of Bambang Widoyo’s creation may inspires the audiences through its tracing’s attemption of epic theory in the plays itself.Keyword : epic theory, theater, social criticism, structure, texture
PROSES KREATIF PEMERANAN RUTH MARINI DALAM MONOLOG WANCI KARYA IMAS SOBARIA Hudha, Tafsir
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2126

Abstract

Ruth Marini’s creative process in performing Wanci Monologue by Imas Sobariah, was Ruth Marini’sattempt in exploring various stages of work or creativity in the role of Icih as the main character in WanciMonologue. As a consequence of the singular characterization of the monologue, the subsequent searchwas directed at the specific creativity that Ruth Marini had done in transforming the Icih character to therole of several other figures as a result of Icih’s narrative of her past which later spawned tragic stories inher life. The search for this creative process was thus focused on the creative ways that Ruth Marinipursued in developing role play or acting, including the stimulants that supported the maximal acting ofRuth Marini in the Imas Sobariah’s Wanci Monologue.Stimulants that were excavated for the developmentof Ruth Marini’s acting was traced through various views of Ruth Marini works of art, especially RuthMarini’s perspective on acting in a monologue. The conclusion of the views of art and acting would bepreceded by exploring some of Ruth Marini’s works of art through previous performances to understandRuth Marini’s contributions to her artistic enrichment process, specifically to the development of actingthat was required in the Wanci Monologue by Imas Sobariah.Keywords: Monologue,art perspective, acting.
PEMASARAN SENI PERTUNJUKAN RAKYAT DI INDONESIA MELALUI PLATFORM DIGITAL SENIPEDIA.COM Novianto, Wahyu; Murtono, Taufik; Hudha, Tafsir
Acintya Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i2.4575

Abstract

The rapid pace of technology in the 4.0 era constructs conventional transaction models into digital transactions with the growth of various digital startups. The use of digitalization for folk performing arts is still not maximally accommodated, even though the internet has spread to villages. Although various conceptions and discourses on the digitization of folk performing arts continue to roll out, they are only carried out by academics and only a small part of the performing arts community is able to utilize the internet and gadgets for means of communication and interaction with a wide audience. This study shows the utilization of digital internet technology that has changed the pattern of face to face interaction to screen to face through the digital application Senipedia.com as one of the start-ups engaged in the realm of folk performing arts development in Indonesia. The various benefits of marketing through the Senipedia.com digital application are becoming a meeting place for all groups to form the habit of assessing and being judged virtually, preserving cultural heritage and historical values that are useful in the future, and becoming an archive that can be reused as educational material that contains values of mutual cooperation, a sense of independence, freedom of expression, and the formation of mutual appreciation of folk performing arts through the digital-virtual world.
Co-Authors Novianto, Wahyu Rasi, Selviano Boby Rome Sugeng, Santoso Taufik Murtono