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All Journal Lekesan: Interdisciplinary Journal of Asia Pacific Arts Panggung International Journal of Social Science Panggung
I Nyoman Sedana
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Estetika Bentuk Busana Pada Lukisan Wayang Kamasan Made Tiartini Mudarahayu; I Nyoman Sedana; Anak Agung Gede Rai Remawa; I Ketut Sariada
PANGGUNG Vol 31, No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1072.137 KB) | DOI: 10.26742/panggung.v31i2.1573

Abstract

Di balik keberagaman bentuk busana dalam lukisan Wayang Kamasan, terdapat pakem dan kreativitas bagi pelukis gaya Kamasan, mengingat bahwa kesenian ini merupakan kesenian klasik dan komunal di Bali. Penelitian menggunakan metode kualitatif dengan pendekatan estetika bentuk dari Thomas Munro yang menyatakan bahwa satu benda seni memiliki pengorganisasian unsur dan detail yang ditujukan untuk menyampaikan imajinasi dan pesan dari sebuah objek, adegan, situasi dalam benda seni tersebut. Hasil studi menunjukkan bahwa motif busana figur dalam seni lukis Wayang Kamasan dapat dibagi dalam tiga bagian, yaitu: (1) Bagian kepala (utama), terdiri atas motif yang menggambarkan identitas utama dari figur yang ingin disampaikan, contohnya: motif buana lukar pada figur Bima. (2) Bagian badan (madya), terdiri dari motif pendukung identitas figur, contohnya: motif gelang kana pada figur Tualen. (3) Bagian kaki (nista), terdiri atas motif kain yang mendukung identitas figur, seperti motif poleng pada figur Bima. Motif yang menjadi pakem dan tidak dapat diubah polanya adalah motif utama, sedangkan sebagian dari motif isian bersumber dari kreativitas masingmasing seniman. Hasil penelitian menunjukkan bahwa terdapat ruang eksplorasi yang luas bagi kreativitas seniman lukis Wayang Kamasan.Kata Kunci: Estetika Bentuk, Motif Busana, Lukisan Wayang Kamasan, Pakem, Kreativitas
Directing Cymbeline: Leon activated attributes of God for the 38th Bali Arts Festival 2016 I Nyoman Sedana
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 2 No. 1 (2019): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v2i1.749

Abstract

Applying the theory of Bali Creative Art, this paper looks at the theatre directing elements, concept, and method applied by Leon Rubin when he directed Shakespeare’s Cymbeline. Invited by the Head of the Bali Province Cultural Directorate to showcase a cross-cultural theatrical production, Leon selected and integrated twenty-five artists (actors/actresses, costume and lighting designers) from Bali, Indonesia; Malaysia, Mexico, Brazil, China, and England in a new work for the 38th Bali Arts Festival in 2016. Most of the actors were able to stay in Bali for three weeks to rehearse; the piece was also shown in limited seating venues in the villages of Ubud and Abian Semal for three nights in a row from 25 to 27 June 2016. Despite the great challenge for the non-Indonesian actors and director, all were finally able to collaborate under Leon’s direction and perform the Indonesian language translation of the original Shakespearian text. Although the local artists informed Leon that the Cymbeline play would be competing with sounds from loud speakers in several nearby performance venues and the stage crew offered the actors microphones—Leon did not allow sound amplification of the actors, musicians, narrator, or the singer. Surprising yet amusing local audiences with several uncommon features, the Cymbeline show was considered to be the best collaborative production among the nearly 350 performances presented during the month-long festival.
Estetika Bentuk Busana Pada Lukisan Wayang Kamasan Made Tiartini Mudarahayu; I Nyoman Sedana; Anak Agung Gede Rai Remawa; I Ketut Sariada
PANGGUNG Vol 31 No 2 (2021): Estetika Dalam Keberagaman Fungsi, Makna, dan Nilai Seni
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i2.1573

Abstract

Di balik keberagaman bentuk busana dalam lukisan Wayang Kamasan, terdapat pakem dan kreativitas bagi pelukis gaya Kamasan, mengingat bahwa kesenian ini merupakan kesenian klasik dan komunal di Bali. Penelitian menggunakan metode kualitatif dengan pendekatan estetika bentuk dari Thomas Munro yang menyatakan bahwa satu benda seni memiliki pengorganisasian unsur dan detail yang ditujukan untuk menyampaikan imajinasi dan pesan dari sebuah objek, adegan, situasi dalam benda seni tersebut. Hasil studi menunjukkan bahwa motif busana figur dalam seni lukis Wayang Kamasan dapat dibagi dalam tiga bagian, yaitu: (1) Bagian kepala (utama), terdiri atas motif yang menggambarkan identitas utama dari figur yang ingin disampaikan, contohnya: motif buana lukar pada figur Bima. (2) Bagian badan (madya), terdiri dari motif pendukung identitas figur, contohnya: motif gelang kana pada figur Tualen. (3) Bagian kaki (nista), terdiri atas motif kain yang mendukung identitas figur, seperti motif poleng pada figur Bima. Motif yang menjadi pakem dan tidak dapat diubah polanya adalah motif utama, sedangkan sebagian dari motif isian bersumber dari kreativitas masingmasing seniman. Hasil penelitian menunjukkan bahwa terdapat ruang eksplorasi yang luas bagi kreativitas seniman lukis Wayang Kamasan.Kata Kunci: Estetika Bentuk, Motif Busana, Lukisan Wayang Kamasan, Pakem, Kreativitas
WAYANG KENTONGAN "BELL PUPPET" AS A MEAN OF COMMUNICATION IN EXPERIMENTAL THEATER I Nyoman Sadi; I Nyoman Sedana; Ni Made Ruastiti; I Gusti Putu Sudarta
International Journal of Social Science Vol. 4 No. 4: December 2024
Publisher : Bajang Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53625/ijss.v4i4.9749

Abstract

He actual events of the life of the puppeteer artist with the traditional ritual life conditions of the Balinese people are the reality of life which can be seen as a human effort to optimize conditions that provide gaps in displaying desires/ego and idealized true existence. The situation of consciousness is realized through material reality that is rational and full of ethics and aesthetics in theater art. In the wayang kentongan work, a unique and interesting means of communication is realized in an experimental theater work. Puppet works Kentongan Puppet This is a new innovative wayang puppet made from bamboo in the shape of a kentonganas a means of communication with the community. Work show Experimental Theatre This harmoniously combines the movement of wayang, dance, accompaniment with the natural background of the village environment, the natural road with craftsmanship lighting modern. The work is studied descriptively and in-depth analysis using the social theory of kinship in community life that is able to live side by side, mutual cooperation, mutual care and nurturing. This performance in the form of puppet theater is expected to awaken human awareness of the importance of togetherness and mutual cooperation which has begun to fade due to human egoism. The communication interweaving of this experimental theater work can add to the form of presentation and treasure of Balinese skin puppetry, as a medium for delivering messages of education, philosophy, morals and ethics, kinship, cooperation, and cooperation
Co-Authors I Ketut Sariada, I Ketut I Nyoman Sadi Made Tiartini Mudarahayu Ni Made Ruastiti Remawa, Anak Agung Gede Rai Sudarta, I Gusti Putu