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All Journal Acintya Gelar : Jurnal Seni Budaya Harmonia: Journal of Arts Research and Education
Novianto, Wahyu
Prodi Seni Teater, Fakultas Seni Pertunjukan, Institut Seni Indonesia Surakarta
Arts Humanities

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Modern Indonesian theater in the 1980s: A criticism of the aesthetic hegemony of the new order Novianto, Wahyu; Guntur , Guntur; Faruk , Faruk; Simatupang , G.R. Lono L.
Gelar: Jurnal Seni Budaya Vol. 22 No. 2 (2024)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v22i2.6589

Abstract

This article discusses the practices and discourse of modern Indonesian theater in the 1980s as a form of resistance to the aesthetic hegemony of the New Order. For 32 years, under the government of Soeharto, freedom of expression was increasingly suppressed, including in the art of theater. Various forms of resistance emerged from theater groups, through practices and discourse that wished to seize the dominance of the New Order’s aesthetic ideology. This research aims to reveal how modern Indonesian theater functioned as a tool of counter-hegemony through the practices and discourse it developed. The research approach uses a critical paradigm with a qualitative method. The primary data are documentation of theater performances from the 1980s and the secondary data are taken from literature about the New Order and mass media articles. A dialogical analysis was carried out to discuss the various data and to explore the relationship between art and efforts to build a counter-hegemony. The research results show that modern Indonesian theater used artistic strategies such as symbolism, humor, and exploration of local traditions to convey criticism, and developed an alternative discourse that challenged the domination of noble (adiluhung) aesthetics. The study concludes that the practices and discourse of modern Indonesian theater in the 1980s reflected a process of negotiation between tradition and modernity, aesthetics and politics, and became a space for symbolic resistance to the New Order system. Through fluid, innovative art forms, theater functioned as a medium of social awareness and a tool of change amidst the constraints of the authoritarian regime.
Aesthetic Transformation of Javanese Wayang Performances in the Digital Era Sunardi, Sunardi; Saka, Putri Ananda; Sulastuti, Katarina Indah; Mulyana, Aton Rustandi; Ansari, Isa; Novianto, Wahyu; Kiswanto, Kiswanto; Putro , Renaldi Lestianto Utomo
Harmonia: Journal of Arts Research and Education Vol. 25 No. 1 (2025): June 2025
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/harmonia.v25i1.11320

Abstract

This study examines how technological advancements have transformed the aesthetics of wayang performances in Java. Data collection methods include observations of wayang performances, interviews, literature reviews, and internet searches to capture the aesthetic transformation of wayang performances in the digital age. Given the existing literature’s tendency to discuss wayang performances within a limited scope, this research provides a more comprehensive contribution by positioning wayang performances as an integrated entity encompassing dalang creativity and audience response. Through the analysis of diverse wayang performances, the study demonstrates that aesthetic transformation is evidenced by the dalang’s hybrid presentation techniques, the emergence of novel story repertoires, and increased audience engagement. Significant findings from this study include the growth of dalang’s creative and adaptive capabilities, enhanced interpretative approaches in composing wayang stories, and the audience’s influence in shaping mass aesthetic trends. This study provides important contributions to the pedalangan (puppetry) and the relations of wayang, dalang, audience, and technology. Furthermore, this study contributes to the academic discourse on cultural adaptation in the digital age and provides pragmatic resources for the artistic development of Javanese puppetry.
KONSEP KREATIVITAS GARIN NUGROHO DAN KETERLIBATANNYA DALAM PERFILMAN DI INDONESIA Novianto, Wahyu
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1949

Abstract

Garin Nugroho is regarded as a film director who managed to put the local culture in the midst of global cultural dominance. Garin is also as one of the few directors in various parts of the world who do not like to repeat expressions. In every of his film works, Garin is capable of doubling his role asscreenwriter as well as a producer. Garin Nugroho’s selection of creative attitude is unique if juxtaposed with other Indonesian cinematographer-filmmaker. Therefore, it is interesting to examine about the creativity concept of Garin Nugroho and his involvement in the film industry in Indonesia.In regard to review on these issues, the theory of creativity is used to observe the creative attitudes and the ideas that underlie Garin’s movie creation process. The data that were used to reveal matterswere the three films of Garin Nugroho that entitledSurat Untuk Bidadari, Bulan Tertusuk Ilalang, and Opera Jawa. The data was obtained through the data collection techniques that include documentation, literature, and interviews. The result of this research shows that through the work of his movies, Garin attempted to reveal thatthere is harmony and balance in position between the local and the global value,where the selection of creative attitude shows a spirit of multiculturalism. Garin’s animating spirit of multiculturalism is not only demonstrated through his work, but also on his creative actions during the process of creating a movie. In this case, Garin is not only as a film director, but he is also as a humanist.Keywords: creativity, movie director, movies.
RAMATURGI TEATER REALISME SIASAT DRAMATIK DAN ARTISTIK MENCIPTA ILUSI REALITAS Novianto, Wahyu
Acintya Vol. 10 No. 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v10i2.2282

Abstract

This research reveals the theatrical dramaturgy of realism and its staging strategies. As a dramaturgy study, history, theory, and theatrical conventions of realism are also revealed, from the beginning and development in the West to Indonesia. Furthermore, how a realism theater is created What are the dramatic and artistic tactics carried out by the director to bring the illusion of reality on the stage. This research is a literature review that makes books or other sources of literature the object of research.The results of the study explain that the history of the emergence of the theater of realism in the West is a rejection of the classical theater style that presents gods, fairies, and other mythological creatures. Theatrical realism conventions are themes around social life and psychology; the characters have sociological, psychological, and physiological dimensions; linear plot; settings are made static; absence of symbols; the fourth wall; and catharsis. The dramatic and artistic tactics carried out by the director are based on chaos, a personal experience experienced by the director.Key words: dramatic tactics, artistic tactics, realism, and the illusion of reality
PETA TEORITIK PENGKAJIAN TEATER: DARI TEORI STRUKTURALIS SAMPAI POSTRUKTURALIS Novianto, Wahyu
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2755

Abstract

AbstractThis article tries to map out the structuralist and poststructuralist theories as the basis of theater studies. So far, the studies of theater performed by theater academics have always been based on structuralist views; examining aspects of form, meaning, style and exclude the human aspects as forming agents of the structure. Structuralist view is antihumanist. It says that the sign has meaning when it is associated with other signs in a systematic unity of structure and not from its relation to the individu (artists). According to poststructuralist view, it is very possible to do a cultural study of theatrical text by looking at the interrelationship between one text and another outside, including social, cultural, literary, political, and other texts that are present randomly and overlapping (juxtaposition). Therefore, this theoretical mapping needs to be done in order to enrich the theater academics to conduct theater performances studies.Keywords: studies, theoretical map, structuralist, poststructuralist
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 Ansari, Isa Aton Rustandi Mulyana Dwitika Kusuma, Qulud Faruk , Faruk Guntur , Guntur Kiswanto Kiswanto Renaldi Lestianto Utomo Putro Saka, Putri Ananda Simatupang , G.R. Lono L. Sulastuti, Katarina Indah Sunardi Sunardi Tafsir Hudha Taufik Murtono