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All Journal Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Terob : Jurnal Pengkajian dan Penciptaan Seni Gayatri : Jurnal Pengabdian Seni dan Budaya
Heny Purnomo
Sekolah Tinggi Kesenian Wilwatikta Surabaya
Arts Humanities

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Tata Artistik (Scenografi) dalam Pertunjukan Kesenian Tradisi Berbasis Kerakyatan Heny Purnomo
Satwika : Kajian Ilmu Budaya dan Perubahan Sosial Vol. 2 No. 2 (2018): Oktober
Publisher : Universitas Muhammadiyah Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22219/satwika.v2i2.7998

Abstract

Kepuasan rasa dan nilai estetik yang didapatkan penonton melalui interaksi dalam pertunjukan sering menjadi persoalan yang berujung pada merosotnya aktivitas produksi pergelaran. Beberapa dekade terakhir, ludruk sebagai pertunjukan tradisi berbasis kerakyatan, kini tampak sepi penonton, dan persoalan yang mendasar ketika pertunjukan Irama Budaya sebagai satu-satunya ludruk tobong yang bertahan di Surabaya belum mampu menarik perhatian penonton. Pertunjukan yang diadakan secara live di Gedung Ludruk THR Surabaya, kini bertambah beban permasalahannya ketika media televisi berkembang dan meningkat sangat pesat. Berbagai tayangan hiburan berbasis industri seni popular, sekarang didukung panataan artistik dengan kecanggihan teknologi, namun juga memunculkan persoalan terkait keberadaan kesenian tradisi yang sering diselenggarakan di panggung prosenium. Tayangan media televisi hampir tidak pernah menyisakan waktu kosong sedikitpun, sebaliknya pertunjukan berbasis kerakyatan yang diselenggarakan secara live dianggap ketinggalan jaman dan tidak memberi keuntungan pasar. Persoalan tersebut merupakan "fenomena sosial” yang menarik untuk diteliti. Penelitian ini bertujuan mendeskripsikan faktor pendukung, menjelaskan penataan skenografi dan peranan di balik keberadaan pertunjukan ludruk Irama Budaya. Untuk menganalisa penelitian digunakan teori relevan melalui analogi Goffman ditunjang berbagai konsep skenografi. Penelitian dengan metode kualitatif dan pendekatan skenografi ini, lebih menitik-beratkan teknik pengumpulan data lewat observasi, wawancara, dan studi pustaka. Penelusuran faktor-faktor pendukung dan penataan tata artistik menghasil-kan asumsi tentang peranan skenografi di balik keberadaan pertunjukan ludruk Irama Budaya Surabaya
Reinterpretasi Teater Tradisi Dalam Perspektif Patronase Heny Purnomo
Terob : Jurnal Pengkajian dan Penciptaan Seni Vol. 13 No. 1 (2022): October
Publisher : Sekolah Tinggi Kesenian Wilwatikta Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (223.233 KB) | DOI: 10.20111/terob.v13i1.8

Abstract

Traditional art theatre that is owned and attached to a community can be used to understand the culture of a society. This is true because traditional arts and theater reflect the personality and way of life of the broader community. Traditional theatrical productions that are held live and move from one location to another (tobong) are becoming increasingly rare and are currently on the verge of extinction. Additionally, every performance is always in competition with other arts that have been transformed by other technological media television. Many forms of presentation produced using stage visuals were influenced by ludruk tobong, which had its peak in the 1970s and 1980s. Ludruk Tobong, a traditional populist-based theater, was born and raised in a society that has served as its primary patron. Every staging of a play incorporates "actors and patrons" as a representation of life, and this is also true of the ludruk tobong performance. When entertainment in multiple media can alienate an audience, the ludruk tobong packaging is now regarded as outmoded and does not offer market benefits, making it more difficult to carry out regeneration, which causes a gradual fall in both supporters and perpetrators. It's interesting to investigate social dynamics that affect the continued existence of traditional populist arts or theater through a patronage-based reinterpretation. This qualitative study aims to describe various supporting factors and explain the reinterpretation and patronage perspectives in ludruk tobong performances as traditional theater. To analyze the results of the study, the concept of traditional art and the analogy of Goffman's performance or dramaturgy were used as well as the concept of patronage and various other concepts that were also supported by the results of interviews in the field.
Pemberdayaan Komunitas Teater Tradisi Melalui Karya Virtual Untuk Meningkatkan Kemampuan Information and Technology (IT) Heny Purnomo; Tri Rusia Ningsih; Ratna Mestikasari Putri
Gayatri : Jurnal Pengabdian Seni dan Budaya Vol. 1 No. 2 (2023): Oktober
Publisher : Sekolah Tinggi Kesenian Wilwatikta (STKW) Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20111/gayatri.v1i2.27

Abstract

After the closure of the THR Surabaya complex (2019), the Irama Budaya ludruk community is now in a worrying situation of "stagnation". Until now, there is still no "vehicle" that is willing to accommodate this community to hold its performances again. Meanwhile, folk traditional theater performances (ludruk) which are held in person are now increasingly difficult to do and rarely found, in fact the growth and development of electronic social media (social media) has provided space for traditional theater to organize performances. In its development, live performances require a lot of money and take longer, this can make the audience feel bored, especially the younger generation. On the other hand, a lot of art is commodified through social media broadcasts which almost never leave any free time. The presence of electronic social media has created a new entertainment industry with artistic settings (scenography) supported by technological sophistication, whereas traditional theater performances are considered outdated, and often depend on supporting communities which are starting to decline. This social phenomenon has an impact on the behavior of today's audiences who prefer electronic media, especially YouTube, so that the traditional theater community needs to be "empowered" through virtual works to improve Information and Technology (IT) capabilities. Empowering the traditional theater community aims to put into practice starting from the process of preparing scenography equipment to editing various elements and elements of the artistic layout of virtual work performances. The method for empowering the traditional theater community is carried out through socialization (mentoring, training and production) and direct practice from resource persons. Through this empowerment, it is hoped that it can improve the IT capabilities of the traditional theater community in facing forms of audience transformation, and can utilize "electronic social media" as a new platform for presenting artistic performances through virtual works.
Co-Authors Ratna Mestikasari Putri Tri Rusia Ningsih