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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 71 Documents
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Akulturasi Budaya Islam-Jawa dalam Pementasan Kesenian Ketoprak Bagus Wahyu Setyawan
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 1 (2019): May 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1439.563 KB) | DOI: 10.24821/dtr.v2i1.3297

Abstract

The purpose of this study was to describe the form of acculturation of Javanese-Islamic culture in ketoprak performance. The acculturation of Javanese-Islamic culture can be found in a variety of Egyptian-style of ketoprak. The Egyptian’s ketoprak is often referred to as Ketoprak Baghdad, Ketoprak Stambul, and Ketoprak 1001 nights because the performed stories are from the Middle East (the story of 1001 nights). The acculturation of Islamic-Javanese culture in the Egyptian’s ketoprak can be seen in terms of stories that adopt the plays from the Middle East or the play of 1001 nights. Besides, the acculturation of Islamic-Javanese culture also appears in terms of costumes and accompaniment. The costumes used are different from Ketoprak in general, which is a combination of Javanese costume and Middle Eastern style clothing. In terms of accompaniment, the Egyptian style of ketoprak also uses “terbang” musical instruments by bringing in the Islamic nuances of songs. In today’s era, Islamic nuances of ketoprak are used in any activities related to ceremonies and commemorations of Islamic holidays. Therefore, the development of ketoprak in the present has become more flexible and adapted to the needs of the community.Keywords: acculturation; Islamic-Javanese culture; the Egyptian style; Ketoprak; Islamic nuances
Alih Wahana Lakon Malin Nan Kondang dalam Media Komik Edy Suisno; Novesar Jamarun; Navisha Yustitia
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 5, No 1: May 2022
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1597.59 KB) | DOI: 10.24821/dtr.v5i1.7661

Abstract

Naskah lakon Malin Nan Kondang adalah karya drama sebagai hasil dari alih wahana folklor Sumatera Barat: Malin Kundang. Folklor Malin Kundang mengisahkan tentang pemuda Minangkabau bernama Malin yang sukses dalam perantauan tapi akhirnya durhaka pada ibu kandungnya. Folklor Malin Kundang tersebut dialih-wahanakan dalam karya Opera Minangkabau melalui re-interpretasi (tafsir ulang), yang berusaha menghadirkan tokoh Malin sebagai anak berbudi dan selalu berbakti pada orang tua. ‘Kedurhakaan’ dalam folklor Malin Kundang ditafsir kembali sebagai sikap kritis anak dalam menghadapi keinginan orang tua yang terkadang memaksakan kehendak, terlebih setelah pihak orang tua terimbas kesuksesan perantauan anak sebagai orang kaya baru. Secara substansial, capaian penikmat naskah lakon Malin Nan Kondang, yang telah ditampilkan dalam bentuk pertunjukan opera Minangkabau tersebut telah menjangkau kalangan seniman, mahasiswa seni, para kritikus teater dan kalangan pemerhati seni budaya tradisional. Namun, jangkauan itu masihlah dipandang belum mewakili khalayak luas. Maka dari itu, untuk memperluas target audience dalam bentuk pencapaian ke semua lapisan masyarakat, penggarapan alih media dalam bentuk komik akhirnya dirancang sebagai strategi untuk memperluas audience, terutama dalam memperluas segmen dari kalangan remaja. Pembuatan komik yang berpijak dari naskah Malin Nan Kondang tersebut juga dirancang untuk memanfaatkan teknologi online yang sangat berperan aktif dalam proses pengenalan ke semua lapisan masyarakat, terutama di kalangan remaja sebagai pengguna aktif teknologi digital. Kata kunci : Alih Wahana, Komik, Naskah Lakon Malin Nan Kondang
Sustaining and Strengthening Indonesia Art and Culture AM Hermien Kusmayati
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 1, No 1 (2018): May 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1602.508 KB) | DOI: 10.24821/dtr.v1i1.2250

Abstract

AbstractThis study aims to analyze the background and sustainability of plurality or diversity of Indonesian art and culture in the form of implementation as a revitalization of traditional performing arts. Qualitative research with an ethnographic approach and an emic and ethical point of view are employed to observe it. The richness of art —both material and non-material with its various aspects are created through struggles against nature, space, and time which are not always easy to address. The cone-shaped cultural wealth as an art is created from the depths of consciousness, understanding, and insight which are not simple but bearing various symbols. The use of symbols in the form of art lengthens its roots from one generation to the next as a representation of the clarity and wisdom of the crystallization of the intelligence of feelings and thoughts. Informal and non-formal educations are efforts which can be done by the present generation to confirm its sustainability. In the vastness of a very open global era, as intercultural interactions intensify, a strong and resilient culture is needed. As something inherited, the future sustainability lies in the hands of the generation, i.e. the society of the recipients in the present and the future.Keywords: Indonesian art; traditional dance; batik; mamacaAbstrakKeberlanjutan dan Penguatan Seni-Budaya. Penelitian ini bertujuan untuk menganalisis latar belakang dan keberlanjutan pluralitas atau keberagaman seni budaya Indonesia dalam wujud pelaksanaan sebagai suatu revitalisasi seni pertunjukan tradisi. Penelitian kualitatif dengan pendekatan etnografis dan sudut pandang emik serta etik ditempatkan untuk mencermatinya. Kekayaan seni – budaya baik bendawi maupun non bendawi dengan berbagai aspeknya diciptakan melalui pergulatan terhadap alam, ruang, dan waktu yang tidak selalu mudah disikapi. Kekayaan budaya yang mengerucut sebagai seni yang diciptakan dari kedalaman kesadaran, pemahaman, serta penghayatan yang tidak sederhana bermuatan berbagai simbol. Penggunaan simbol-simbol dalam wujud seni, memanjangkan akarnya dari satu generasi ke generasi berikutnya sebagai representasi kejernihan dan kearifan dari kristalisasi kecerdasan perasaan dan pikiran. Melalui dan di dalam pendidikan baik formal maupun non formal adalah upaya yang dapat dilakukan oleh generasi sekarang untuk meneguhkan keberlanjutannya. Di keluasan era global yang sangat terbuka, ketika interaksi kebudayaan antarbangsa semakin intensif, sungguh diperlukan ketahanan budaya yang sangat kuat dan tangguh. Sebagai sesuatu yang diwariskan, maka kelanjutannya di masa depan berada di tangan generasi pewarisnya, yaitu masyarakat penerimanya pada saat sekarang maupun yang akan datang.Kata kunci: kesenian Indonesia; tari tradisi; batik; mamaca
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
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
Membaca Opera Batak Lakon Perempuan di Pinggir Danau Produksi Pusat Latihan Opera Batak Lismade Soraya Juliana Siagian
Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Vol 2, No 2 (2019): November 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1159.817 KB) | DOI: 10.24821/dtr.v2i2.3311

Abstract

Opera Batak is one of theatre in Indonesia. This research about dramaturgy of Opera Batak. The Dramaturgy of Opera Batak Perempuan di Pinggir Danau, PLOt production at North Sumatera, begins with understanding the staging of more than understanding a written text by using the theoretical basis of theater dramaturgy by Euginio Barba and research of qualitative methods. This research has been doing for two month at Pematang Siantar, North Sumatera district where Batak Opera originally come from. This research aims to dig about structure and tecstur, and the theatre elements from the performance. Opera Batak PLOt production in the group play Perempuan di Pinggir Danau that the form of theater based on traditional Batak area for the Batak society as a medium of entertainment and messaging truths of life.Keywords: theatre; dramaturgy; Opera Batak
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

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