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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
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Search results for , issue "Vol 5, No 2: November 2022" : 5 Documents clear
Tingkat Kecemasan Performa Aktor pada Mahasiswa Teater Institut Seni Indonesia Yogyakarta Kurnia Rahmad Dhani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.7594

Abstract

Terdapat faktor krusial yang luput dari pelatihan maupun kajian keaktoran, yaitu sisi kesiapan psikologis seorang aktor. Penelitian ini mengukur tingkat kecemasan performa yang dialami oleh mahasiswa teater Institut Seni Indonesia Yogyakarta sebagai calon aktor profesional. Penelitian ini menjelaskan tingkat kecemasan performa aktor dan korelasinya dengan variabel lama waktu latihan serta variabel jenis kelamin. Tingkat kecemasan diukur dengan skala kecemasan performa aktor teater yang telah dikembangkan sebelumnya oleh penulis. Penelitian ini menunjukkan bahwa tidak terdapat perbedaan tingkat kecemasan performa yang signifikan antara mahasiswa yang telah berlatih teater selama 1 tahun, 2-3 tahun, dan >3 tahun (p = 0,322; p > 0,05). Tidak terdapat perbedaan kecemasan antara mahasiswa dengan mahasiswi teater (p = 0,110; p > 0,05). Laki-laki dan perempuan mengalami kecemasan kategori sedang. Umumnya jam terbang latihan diyakini sebagai faktor kuat untuk menghilangkan atau mereduksi kecemasan performa. Penelitian ini membuktikan waktu latihan tidak menjamin seorang aktor terlepas dari kecemasan performa. Penelitian ini diharapkan dapat menjadi landasan dalam pengembangan materi dan metode ajar pada mata kuliah keaktoran. Kata kunci: aktor, teater, kecemasan performa, mahasiswa, skala psikologi The Actor Performance Anxiety of Institut Seni Indonesia Yogyakarta Theatre Major StudentThis study measures the level of performance anxiety experienced by theater students at the Yogyakarta Art Institute as prospective professional actors. This study describes the actor's level of performance anxiety and its correlation with the variable length of training time and gender. The level of anxiety is measured by the theater actor's performance anxiety scale, which the author has previously developed. This study shows no significant difference in the level of performance anxiety between students who have practiced theater for one year, 2-3 years, and >3 years (p = 0.322; p > 0.05). There was no significant difference between male and female students (p = 0.110; p > 0.05). Both male and female students experience anxiety in the moderate category. This research proves that rehearsal time does not guarantee that an actor will be free from performance anxiety. This research is expected to be the basis for developing teaching materials and methods in acting courses. Keywords: actor, theater, performance anxiety, student, psychology scale
Analisis Bentuk Penyajian Kesenian Dikir Kepri Bermadah Oleh Sanggar Saidina Ali, Pulau Lengkang Feriyansyah Feriyansyah; Widyanarto Widyanarto
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9535

Abstract

Analysis of the Art Presentation Dikir Kepri Bermadah by Saidina Ali Studio, Lengkang Island. Dikir Kepri art is an art that is formed from the reforms carried out on Western dikir art. This renewal was carried out by the Saidina Ali studio as the pioneer of the reform. The reforms carried out refer to the form of this art itself. This renewal was carried out to avoid cultural plagiarism because the basis for the birth of this art came from Malaysian art with the same form. the object under study. With stages consisting of literature study, interviews, and direct observation of the object being studied. The form of presentation of Dikir Bermadah can be analyzed from various aspects, namely: 1. analysis of dancers 2. analysis of songs and poetry 3. analysis of accompaniment music 4. symbolic analysis 5. analysis composition 6. analysis of fashion and property This research was conducted on Lengkang island with the Saidina Ali studio as the primary data source. With the guidance of Mr. Mizan, S.pd as a resource person, the learning process of the research object went smoothly. The form of presentation of the Dikir Kepri Bermadah and the difference with the Western Dikir can be seen clearly from various aspects in the form of presentation.Keywords: Thoughts of Mercy, Renewal, Form of Presentation
Implementasi Metode Design Thinking dalam Tata Panggung Teater Karma Gadis Bisu Karya NS Mega Sheli Bastiani
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9536

Abstract

Implementation Design Thinking Method in the Stage Arrangement of the Karma Gadis Bisu Theater by NS.The design thinking method is a method that is commonly used in the world of design, especially interior design, product design, and visual communication design. Design thinking adopts the way of thinking of a designer in carrying out his creative process. It can be said that design thinking is a method of thinking/perspective/point of view in doing something. This design aims to develop knowledge through the implementation of design thinking methods into the realism of theater stage design. The design process using this method uses 5 stages, Discovery, Interpretation, Ideation, Experimentation, and Evolution, and taking the object of the Karma Gadis Bisu script by NS. The results of this design are in the form of a qualitative concept of theater stage design data. Meanwhile, according to data searches on the scopus.com website, a theater stage layout design using this creative method has not been found. Therefore, this design is feasible to be continued.Keywords: design thinking method, stage sets, theater, Karma Gadis Bisu
Pranata Mandiek Anak di Nagari Salareh Aia Kecamatan Palembayan Kabupaten Agam dan Multikulturalisme Budaya Bangsa Iron Maria Edi; Hasanuddin Hasanuddin; Fadlillah Fadlillah
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9537

Abstract

The Rule of Mandiek Anak at Nagari Salareh Aia, Palembayan District, Agam Regency, and Nation's Multiculturalism This article is the result of research on the Institution of Mandiek Anak in Nagari Salareh Aia, Palembayan District, Agam Regency, which is a procession of the baka-baki in the Nagari Salareh Aia customary community. The Cultural Studies approach that was carried out on this institution was able to dismantle the form, function, and meaning of Mandiek Anak in the order of the Nagari Salareh Aia customary community. There are two customary community structures in Nagari Salareh Aia known as Langgam, namely Langgam Saripado and Langgam Panghulu Nan Balimo. This institution functions to strengthen kinship, control and social control, education, economy, self-identity, information, social integration, religion, and traditional cultural performances of Nagari Salareh Aia. This institution has an important meaning between the two extended families of the father and his people, as well as the children and their extended family because Mandiek Anak presents the quality of kinship ties that are maintained between the two. The institution of Mandiek Anak is carried out in the nuclear family and clan institution which then extends to other clans because the Bajaj custom from the paternal clan or korong kampung anak involves the relationship between the two clans and other clans in the local customary arrangement. With the linkage of all parties, the institutions that operate Mandiek Anak start from the Batih, Paruik, Kaum, Luhak, and Langgam families within the Nagari Salareh Aia customary community. Mandiek Anak is a national cultural root that still exists and is maintained in the Nagari Salareh Aia indigenous people who are part of the Indonesian Nation's Cultural Multiculturalism which must remain sustainable and alive. Keywords: Mandiek Anak, Style, Multiculturalism
Kuratorial Solo International Performing Arts (SIPA) 2021 sebagai Bentuk Inovasi dan Konsistensi Festival Berskala International I Wayan Dana; Rika Amalia Putri
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 2: November 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v5i2.9538

Abstract

Solo International Performing Arts (SIPA) 2021 Curatorial as a Form of Innovation and Consistency on an International Scale Festival This research focuses on the curatorial process in Performing Arts practice by taking a case study at the largest annual Performing Arts event in the city of Solo, SIPA (Solo International Performing Arts) in 2021. SIPA Festival has a curatorial concept that is detailed and mature and relevant to the circumstances of the times. Curatorial at the SIPA Festival focuses on the selection of event themes, mascots, and the selection of performers. The research method used is a qualitative method, which will focus on observation, documentation, and structured interviews. The main source of data is from the description of the source, and the memory of the source. The results of this study are about the explanation of the curatorial process in the series of SIPA 2021 events,- and the identification of the concept of curatorial thinking. Each SIPA 2021 performer has their own reasons why they were chosen to perform on the magnificent stage of SIPA 2021, this reason is in the description of the curators. The standards applied by SIPA Festival for its performers are absolute requirements that must be met by performers in order to be able to display their works on the SIPA 2021 stage.Keywords: Solo International Performing Arts, Festival, Performance Art, Curatorship, Curator

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