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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 87 Documents
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BHUMI MATA: Ekspresi Persembahan Dalam Bentuk Karya Tari Virtual Ni Kadek Rai Dewi Astini; I Nyoman Cau Arsana; Putu Ayu Arindyasari
Dance and Theatre Review Vol 8, No 2: November 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i2.17642

Abstract

Penelitian dengan judul Bhumi Mata: Ekspresi Persembahan dalam Bentuk Karya Tari Virtual merupakan penciptaan karya tari Bhumi Mata yang termotivasi dari  situasi alam pada saat pandemi Covid-19. Bumi sedang berduka, untuk itu penciptaan karya tari Bhumi Mata hadir sebagai wujud ungkapan persembahan, doa kepada alam, menyampaikan rasa penghormatan kepada alam semesta sebagai Ibu Pertiwi. Dilandasi dengan pemahaman tentang konsep ekologi Hindu yang dikenal dengan Tri Hita Karana, sebuah ajaran falsafah Hindu sebagai tuntunan menjaga jalinan keharmonisan, dan penyelarasan dengan alam semesta. Karya ini diharapkan dapat menggugah dan mengajak umat manusia untuk membangkitkan rasa keterhubungan antara manusia dengan alam semesta. Penciptaan karya tari Bhumi Mata juga bertujuan memaparkan sebuah proses penciptaan sebagai alternatif pertunjukkan karya virtual. Hadir dalam bentuk karya eksperimental dengan menggunakan pendekatan tari video dan alih wahana. Memadukan elemen-elemen keindahan seperti gerak, musik, properti tari, tata rias  busana, dan penggunaan area pentas. Dalam proses penggarapan karya tari mengacu pada metodologi penciptaan Panca Sthiti Ngawi Sani yang meliputi ngawirasa, ngawacak, ngarencana, ngawangun, dan ngebah, serta menggunakan metode penggarapan tari video yang merupakan karya tari berbasis sinematografi yang ditangkap kamera.Bhumi Mata,  ekspresi persembahan, tri hita karana, tari virtual
Bentuk Pertunjukan Tari Ambu Sakanti Karya Sanggar Seni Perwitasari Kota Tegal Aldhisa Shafa Zahrani
Dance and Theatre Review Vol 8, No 2: November 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v8i2.15803

Abstract

Tari Ambu Sakanti adalah sebuah tari kreasi tradisional yang terinspirasi dari kehidupan masyarakat pesisir, khususnya para nelayan di wilayah Tegal. Tarian ini menggambarkan semangat, kerja keras, dan harapan nelayan dalam mencari nafkah di laut, yang diwujudkan melalui perpaduan gerak tari dinamis, iringan musik gamelan, vokal syair tradisional "Balo-Balo", serta properti kepis (alat tangkap ikan dari anyaman rotan). Tarian dibawakan secara berkelompok oleh penari putra dan putri dengan formasi yang fleksibel sesuai kebutuhan acara, menampilkan interaksi yang harmonis antara kekuatan laki-laki dan kelembutan perempuan. Kostum bernuansa biru laut, tata rias khas, dan tata lampu yang dramatis memperkuat nilai visual dan emosional pertunjukan. Penelitian mengenai Tari Ambu Sakanti dilakukan dengan metode kualitatif, menggunakan pendekatan etnografi untuk mengkaji aspek seni tari, simbolisme budaya, serta nilai sosial yang terkandung dalam pertunjukan. Data dikumpulkan melalui observasi langsung saat pementasan, wawancara dengan koreografer, penari, dan masyarakat setempat, serta dokumentasi video dan foto. Pendekatan ini memungkinkan pemahaman mendalam tentang makna budaya dan dinamika pertunjukan yang tidak hanya bersifat artistik, tetapi juga sosial dan historis.
Gerak Mimesis Pada Penciptaan Tari Baruak Di Laban Kabupaten Pesisir Selatan Provinsi Sumatera Barat Mentari Varianda; Gangga Lawranta
Dance and Theatre Review Vol 9, No 1: May 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v9i1.19522

Abstract

Mimesis Movement in the Baruak Dance of Laban, West Sumatera: A Manifestation Study. Baruak Dance is a traditional dance that lives and develops in Kampung Laban, Pesisir Selatan Regency, West Sumatra Province. This dance is inspired by the behavior of the Baruak (long-tailed macaque), which has a close relationship with the coastal community, particularly in daily life and economic activities. The emergence of Baruak Dance originates from the artist’s observation of the movements and behavior of the Baruak, which are subsequently processed and developed into a dance performance. This study aims to discuss Baruak Dance as a manifestation of mimetic movement, with particular emphasis on dance form and dancers’ expression. The research employs a descriptiveanalytical method with a qualitative approach, conducted through observations of movement patterns, performance structure, musical accompaniment, and dancers’ expressions. The results show that the movements in Baruak Dance represent imitations of Baruak behavior that have undergone processes of stylization and artistic transformation. The mimetic movements, characterized by their comical and communicative nature, constitute the main elements shaping the dance’s character and reflect the relationship between humans, nature, and the cultural values of the Pesisir Selatan community.Keywords: Baruak Dance, mimesis, traditional dance, Minangkabau
Fenomena Kesenian Gedrug Dalam Kehidupan Masyarakat Desa Limbangan Kecamatan Limbangan Kabupaten Kendal Jawa Tengah Anggun Ida Mawadda
Dance and Theatre Review Vol 9, No 1: May 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v9i1.19712

Abstract

Gedrug Art Phenomena from Limbangan Village Community in Limbangan Sub-district, Kendal District, Central Java. This is about “Gedrug Art Phenomena from Limbangan Village Community in Limbangan Sub-district, Kendal District, Central Java” the purpose is to know, review, and describe the phenomenon of interest in Limbangan Village, Limbangan Sub-district, Kendal District towards Gedrug Arts. To explore the problems in this study, using analytical descriptive method with anthropological approach, and study of the coreography of the text and context. Gedrug Arts or knows as Rampak Gedrug Buta Dance or Rampak Buta Dance is a popular genre of traditional dance performing arts in the form of the group. Gedrug Arts composition coming from Magelang, Central Java was introduced in Limbangan Village by Sulasno, one of the residents of Limbangan Village. Sulasno was the initiator of the formation of this Association Paguyuban Rampak Candra Budaya. Society of Limbangan Village have an opinion that Gedrug Arts has its own charm. The presence of Gedrug Arts is something new for the people of Limbangan Village in Kendal District. The art that presents the motion of the gedrug bumi, property of masks, klinthing, and typical properties becomes the main magnet that’s why people to join in. Art that is synonymous with an energetic and dynamic pattern of movement would be a new taste for the people of Limbangan Village. Only about 2 years have passed, but the enthusiasm from the society is so clear. Judging from the number of audience who came, it was also seen from the frequent performances of Gedrug Art compared to traditional arts called Jatilan which were precisely the identity of the Limbangan Village community has less audience. Gedrug Arts is expected to be able to preserve an art. Although the art isn’t original art that has taken root in this village. As much as any group or art community, it should not be competitions. But it becomes a means to move forward together in preserving national culture.Keywords : phenomenon, kesenian Gedrug, Desa Limbangan Kendal
Makna Simbolik Busana Tari Piring Di Sanggar Siti Nurbaya Kota Surabaya Bimo Ari Prabowo; Autar Abdilah; Anbie Haldini
Dance and Theatre Review Vol 9, No 1: May 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v9i1.19963

Abstract

The Symbolic Meaning of Plate Dance Clothing at Sanggar Siti Nurbaya, Surabaya City.  This research aims to explore the symbolic meaning of the Piring Dance clothing displayed at Sanggar Siti Nurbaya, Surabaya, as an effort to preserve the Minangkabau tradition outside its homeland. The method used in this study is qualitative, by collecting data through observation, in-depth interviews, and documentation. The analysis was carried out by applying the semiotic theory of Roland Barthes which includes three layers of meaning, namely denotation, connotation, and myth. The findings of this study reveal that the clothes of female dancers, such as tikuluak talakuang, tikuluak tanduak, brooches, telephone subang earrings, gadang necklaces, kebaya kurung, and songket sarongs, symbolize the modesty, elegance, and honor of Minangkabau women. Meanwhile, the male dancers' outfits consisting of baju kurung, deta, sarawa galembong pants, and songket sarongs reflect authority, courage, and agility. The colors red, black, and gold symbolize courage, authority, and prosperity. The myth that has been formed shows that the Piring Dance outfit is a representative of the Minangkabau cultural identity that continues to maintain traditional values and Islamic teachings. This clothing not only serves as a complement to the show, but also as a means to preserve cultural values for the younger generation.Keywords: Symbolic Meaning, Dance Clothing, Plate Dance, Semiotics, Minangkabau
Dimensi Teatrikal Tradisi Man Belo Masyarakat Lingga Perspektif Theatre of Cruelty Antonin Artaud Nika Saputri; Tafsir Hudha
Dance and Theatre Review Vol 9, No 1: May 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v9i1.20012

Abstract

The Theatrical Dimensions of the Man Belo Tradition in the Lingga Community: An Antonin Artaud's Theatre of Cruelty Perspective.This study aims to reveal the problems related to the Man Belo tradition among women in Lingga Village. Man Belo is a custom practiced by women in Lingga Village since ancient times and is still practiced today. This study uses Antonin Artaud's Theatre of Cruelty perspective to read the intensity of the body, sensory experience, and theatrical dimension in the man belo tradition of the Lingga community. This study uses Antonin Artaud's theory of the Theatre of Cruelty which rejects the dominance of text and dialogue, then emphasizes the body, movement, sound and sensory shock to shake the audience. This study uses a qualitative approach with a performance ethnography method to understand the performative and theatrical dimensions in the man belo tradition of the Lingga community. The results show that the man belo tradition has performative and theatrical dimensions that emerge through body gestures, sensory experiences, non-verbal communication, and collective social rituals of Lingga women.Keywords: Man Belo, Theatre of Cruelty, Performative and Theatrical Dimensions
Mencari Stanislavski di YouTube: Digital Psychophysical Training dalam Pelatihan Keaktoran Mahasiswa Ilham Rifandi; Ikhsan Satria Irianto; Pandu Birowo
Dance and Theatre Review Vol 9, No 1: May 2026
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dtr.v9i1.17933

Abstract

Searching for Stanislavski on YouTube: Digital Psychophysical Training in Undergraduate Actor Training. This article examines the transformation of acting pedagogy in the digital era by developing the concept of digital psychophysical training. Drawing on Stanislavski's psychophysical tradition and its development by Zarrilli, this study highlights how performing arts students at ISI Padangpanjang, UNIMED, and UNJA use YouTube and TikTok as their primary medium for learning acting. Through a practitioner research approach enriched with digital ethnography, this study analyzes embodied practices arising from screen-body interactions, content consumption patterns, and students' curatorial strategies in navigating algorithms. The findings indicate that: (1) digital platforms function as alternative learning spaces that fill the gap between formal methodologies and acting practices; (2) the process of embodiment occurs through repeated viewing, imitation, and visual translation into physical action, forming a “screen-to-body” literacy; (3) students' acting identities are hybrid, combining global techniques with local cultural roots; and (4) platform algorithms act as “invisible teachers” that shape students' learning trajectories. Despite the risks of dependency, distraction, and algorithmic bias, this experience fosters the strengthening of critical literacy in performing arts education. Thus, digital psychophysical training is understood not simply as a substitute for formal learning, but as a new paradigm that revolutionizes contemporary acting pedagogy in Indonesia.Keywords: digital psychophysical training, algorithmic pedagogy, embodied learning

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