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 4, No 2: November 2021" : 5 Documents clear
Bilah Berputar sebagai Media Pembelajaran Olah Tubuh untuk Melatih Gerak dalam Pengendalian Diri Sarjiwo Sarjiwo
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1062.821 KB) | DOI: 10.24821/dtr.v4i2.6451

Abstract

The Rotating Blades as the Learning Media of Body Exercise to Train Movement in Self-Control. This study aims to reveal how media (blades) becomes the learning media of body exercises to train motion in self-control. This research is experimental research by giving treatment to research subjects. The treatment was carried out in three stages: (1) The study subjects adapted to the blades moving freely for 2 minutes; (2) the research subjects improvised motion freely while rotating the blades for 2 minutes; and (3) the research subjects improvised movement freely while turning the blades consciously to control themselves for 2 minutes. The motion process in the first, second, and third treatments was observed as the data for analysis. The observation was conducted by interviewing the research subjects. The results showed that in the first treatment, the blades that the research subjects rot hit the body, hitthe floor, and slack ropes accumulated twelve times. In the second treatment, the research subjects rotated the blades hitting the body, hitting the floor, and the slack ropes were cumulatively 21 times. And in the third treatment, the blades were rotated by the research subjects hitting the body, hitting the floor, and the slack ropes accumulated seven times. The research results indicate that if the free movement is not controlled, the possibility of an accident is more significant (21 times). Meanwhile, if the movement is controlled, the case of an accident is more minor (7 times).Keywords: rotating blade; body exercise; self-control
Bedaya Duradasih, Sebuah Ekspresi Budaya pada Masa Sunan Pakubuwana III-IV di Keraton Surakarta Indah Nuraini; Supriyanti Supriyanti
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (730.228 KB) | DOI: 10.24821/dtr.v4i2.6452

Abstract

Bedaya Duradasih: A Cultural Expression During the time of Sunan Pakubuwana III-IV in the Surakarta Palace. Bedaya Duradasih is a form of bedaya dance created at the Surakarta Palace. Its creator was Sunan Pakubuwana IV who at that time, still had the title of Kanjeng Gusti Pangeran Adipati Anom. Sunan Pakubuwana IV was a king who had a very significant artistic spirit, so it cannot be denied that artistic and cultural life was very flourishing during his reign. Bedaya Duradasih was one of the cultural expressions at that time. The created expression was inspired by the mood of being infatuated/falling in love with the Madurese princess. Looking at the words Duradasih and Madura can be connected with several opinions regarding the meaning of the word Duradasih. It is said that Duradasih derived from the words Dura and dasih, which mean a woman from Madura. Then it is also mentioned from the words Dara and dasih, which means girl/virgin who brings happiness. Furthermore, it is interpreted from the words Dora and dasih, which means lying for political interests at that time, which ended up with a love affair. From these descriptions, it can be concluded that Bedaya Duradasih reflects one of the cultural expressions.Keywords: bedaya; Surakarta; expression
Unsur Tenaga Gerak dan Penerapannya pada Tari Seudati: Proses Kreatif di Sanggar Aneuk Metuah, Aceh Besar Sabri Gusmail; Prastika Dewi Nugra
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1263.792 KB) | DOI: 10.24821/dtr.v4i2.6453

Abstract

The Element of Motion and Its Application in Seudati Dance: The Creative Process at Aneuk Metuah Studio, Aceh Besar. This article is the research result which was conducted in Aceh Besar, which led to training activities to solve problems that occurred in the Aneuk Metuah Studio. The problem with the studio is about the dancers’ body resistance when dancing the Seudati dance, namely that the dancers get tired quickly, which impacts the quality of the dance movement. The program is oriented towards increasing creativity in managing the energy element when dancing the Seudati traditional dance. This type of research is qualitative research using the action research method (action research). The researcher identified specific problems and determined actions as solutions to these problems. Furthermore, the research refers to the construction method of creating dance in Jacqueline Smith’s book, translated by Ben Suharto, entitled Dance Composition: A Practical Guide for Teachers. The stages of activity include observation, determination of focus and preparation of training materials, transfer of materials, the performance of the Seudati dance, and evaluation of activities. The action is carried out in the form of training in the management of the energy element when dancing the Seudati dance. The material is delivered through audiovisual media and demonstrates it. Based on the process and the research results, it is found that the potential for the sustainability of the creative process can be carried out by the children of Aneuk Metuah studio in every training process in the future. It is hoped that this activity will have a long-term impact on the trainees in managing the elements of movement energy when dancing and increasing the artistic creativity in the studio.Keywords: dance; training; elements of motion; Seudati
Pengembangan Mamaca di Pamekasan Madura sebagai Penguatan Harmoni Kehidupan Sosial Supadma Supadma; I Wayan Dana
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2281.999 KB) | DOI: 10.24821/dtr.v4i2.6454

Abstract

The Development of Mamaca in Pamekasan Madura as Strengthening Harmony of Social Life. This study aims to develop one of the traditional performing arts, namely Mamaca in Pamekasan Regency, Madura Island, which is abandoned, especially by the local younger generation. Mamaca, which emphasizes the nobility of values and norms in its form and implementation, is capable of strengthening the nation’s character and the harmony of social life. Thus, this research is an effort to reconstruct local cultural and community values. Seeing its essential role, this research on Mamaca will be carried out in three years. Mamaca presents the values of local wisdom and uses the hermeneutic approach. The reinforcement is designed in the form of new Mamaca choreography according to the spirit of the times. It also reflects the will of the supporting community but still does not leave its primary source. The design of the form of presentation is based on an emic and ethical point of view, namely using a choreographic approach by involving the ideas of local artists or actors. The “new” Mamaca choreography was introduced to students of several elementary schools, as well as to existing performing arts groups. By introducing and teaching it to young children, it is hoped that the stronger and longer roots will be planted for growth. Its introduction and application are followed up by contesting it to motivate others in arts and to promote it to a broader audience, Mamaca can be developed outside its original area, but with similar traditional performing arts. Based on this plan, further development of choreography is also designed to be taught to children and adapted to their distribution area.Keywords: mamaca; Pamekasan Madura; local wisdom; national character;social harmony
Postdramatik: Dramaturgi Teater Indonesia Kontemporer Afrizal Harun; Kurniasih Zaitun; Susandro Susandro
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 4, No 2: November 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (755.156 KB) | DOI: 10.24821/dtr.v4i2.6450

Abstract

Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary

Page 1 of 1 | Total Record : 5

 1 

Filter by Year

2021 2021


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