cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Surya Farid Sathotho
Contact Email
suryafarid@isi.ac.id
Phone
+6282228334645
Journal Mail Official
dtreview@isi.ac.id
Editorial Address
Fakultas Seni Pertunjukan Institut Seni Indonesia Yogyakarta
Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang
Published by Institut Seni Indonesia Yogyakarta
ISSN : 25025880     EISSN : 26866027     DOI : https://doi.org/10.24821/dtr.v4i2
Core Subject : Humanities, Art,
Arts Humanities
Dance & Theater Review (DTR) is a journal published in May and November, hosted by the Faculty of Performing Arts of Institut Seni Indonesia Yogyakarta. It is firstly published in May 2018. Journal of DTR contains any results of research and creation of dance, theatre, and wayang as well as performing arts education.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 3, No 2 (2020): November 2020" : 5 Documents clear
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: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): 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
Garapan Tari “Akegh Cahayegh”: Representasi Budaya Ritual Pengobatan Tolak Bala Suku Talang Mamak, Desa Gedabu Suvina Suvina; Martion Martion; Ali Sukri
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1175.275 KB) | DOI: 10.24821/dtr.v3i2.4421

Abstract

The Creation of "Akegh Cahayegh" Dance: The Culture Representation of Medicinal Ritual on Calamity Reversal of Talang Mamak Tribe, Gedabu Village. The Talang Mamak tribe is a group of people included in the KAT category (Remote Indigenous Community), which is another name for the Tribe of Anak Dalam. The Talang Mamak tribe belongs to the Proto Melayu group. The Talang Mamak tribe's life inspires this source of work in the neighborhood where the workmen live. The craftsmen were very interested in the Mahligai treatment (Tolak Bala), which was located in the inland tribal area of Talang Mamak, Gedabu village in Rakit Kulim sub-district—inspired to work on this culture to survive in today's life. The craftsmen certainly feel proud when this culture is preserved and displayed with new cultivation (innovation) without leaving the medicinal ritual's distinctive features. This work was worked on with the results of the interpretation and imagination of the writer. The values contained in this work are the values of loyalty, obedience, and togetherness. The implicit message conveyed is that the development and change of time is not a barrier for the inland tribe of Talang Mamak, Gedabu village to carry out rituals and preserves ceremony, namely the treatment of Mahligai Tolak Bala as a ritual of cleaning the village.Keywords: preserving culture; obeying; togetherness
Perubahan Balungan Lampahan dalam Pakeliran Wayang Kulit Purwa Gaya Surakarta Junaidi Junaidi; Bayu Aji Suseno
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1231.822 KB) | DOI: 10.24821/dtr.v3i2.4422

Abstract

The Changes on Balungan Lampahan in Pakeliran of Purwa Puppet of Surakarta Style.This research aims to increase the appreciation of the shadow puppet purwa pakeliran according to the times and society. Balungan lampahan as the basic framework, is static and never to be changed, but then it is dynamic and full of changes. The method used is descriptive comparative, while data analysis is based on the structure theory of the wayang play by Alton L. Becker and Arnold Hauzer's social change. The results can be found in three forms of balungan lampahan namely: (1) overnight, (2) compact, and (3) solid. Change is partial and total due to changes in the society that supports wayang, namely as the art of royal ritual traditions (monarchy and ritualism) turning into modern art and entertainment (modern and profane). Thus, the change in balungan lampahan represents changing times and society, so it needs to be appreciated by the puppeteers for the pakeliran.Keywords: changes; balungan lampahan; pakeliran; shadow puppets; Surakarta style
Opera Batak Sisingamangaraja XII Episode Ugamo Malim Horja Bolon Na Parpudi: Usungan Tradisi dan Kontemporer Enrico Alamo; Rosta Minawati; Sulaiman Sulaiman; Sherli Novalinda
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1996.455 KB) | DOI: 10.24821/dtr.v3i2.4418

Abstract

Batak Opera of Sisingamangaraja XII the Episode of Ugamo Malim Horja Bolon Na Parpudi: Carriying out the Tradition and Contemporary. The purpose of research and creation of Batak opera is to revitalize Batak traditional arts. Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi, results from the research and creation of the Sisingamangaraja XII Batak opera. The creation of Batak opera uses research methods, namely observation, interviews, literature study, and documentation. The working process begins with reading the script, making blocks according to the script, detailing blocking, playing the role/scenes, music, and tutoring, selecting and doing the artistic and lighting creation. Opera Batak was done in contemporary work, including story elements, jokes (amalopas), and even accompaniment (uning-uning). Sisingamangaraja Opera Batak XII, the episode of Ugamo Malim Horja Bolon Na Parpudi tells the story of Ugamo Malim in the Dutch colonial era and the family of King Sisingamangaraja XII. The story’s plot consists of; news of the death of King Sisingamangaraja XII, the captivity of the Sisingamangaraja XII family, Ompu Ni Onggung, and Ompu Portahan Batu, who had a grudge against King Sisingamangaraja XII and followers of Ugamo Malim’s teachings. Tortor dance and Cawan dance were created contemporary. Sisingamangaraja Batak Opera XII, the episode of Ugamo Malim Horja Bolon Na Parpudi wants to maintain the existence and preserve the traditional arts of the Batak community.Keywords: Batak opera; Sisingamaraja XII; ugamo malim; tortor
Pelestarian Tari Andun pada Masyarakat Bengkulu Selatan Sella Tri Komala; Supriyanti Supriyanti; Rina Martiara
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 3, No 2 (2020): November 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1164.326 KB) | DOI: 10.24821/dtr.v3i2.4419

Abstract

Preservation of Andun Dance in South Bengkulu. Andun dance is one of the dances of South Bengkulu’s people, which is currently less popular. This dance is a form of cultural and traditional art in South Bengkulu that still exists and has Islam and traditional nuance. In a marriage ceremony, for example, this dance is performed for seven days and seven nights. For those with a modern view, the Andun dance is a series of long and tiring processions and should be abandoned or modified. However, because it has become a custom and tradition, most people still carry out this long procession until now, even though it requires a lot of time and money. Andun dance is now less attractive because there are so many foreign cultures that enter South Bengkulu people, especially its young people. Andun dance is also getting worse because the places to express this dance are decreasing in number. For example, South Bengkulu people’s traditional marriage rituals are usually held for seven days and seven nights. Still, at present, the practices held are not carried out that long. Andun dance, which is currently experiencing ups and downs, has not been able to regrow the community’s interest and youth. This research focuses on how the efforts to preserve the Andun Dance in the people of South Bengkulu. One of the efforts made by the government is to carry out the Andun dance festival. In several leading schools, Andun dance is taught as extracurricular activities. The efforts made by the community regarding the preservation of the Andun dance are deliberating so that the Andun dance can be performed by the middle to lower class communities. Besides, artists also carry out preservation efforts by providing guidance or training for Andun dance to their students.Keywords: preservation; Andun dance; South Bengkulu

Page 1 of 1 | Total Record : 5

 1 

Filter by Year

2020 2020


Reset
Filter By Issues
All Issue Vol 7, No 2: November 2024 Vol 7, No 1: May 2024 Vol 6, No 2: November 2023 Vol 6, No 1: May 2023 Vol 5, No 2: November 2022 Vol 5, No 1: May 2022 Vol 4, No 2: November 2021 Vol 4, No 1: May 2021 Vol 3, No 2 (2020): November 2020 Vol 3, No 1 (2020): May 2020 Vol 2, No 2 (2019): November 2019 Vol 2, No 1 (2019): May 2019 Vol 1, No 2 (2018): November 2018 Vol 1, No 1 (2018): May 2018 More Issue