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Surya Farid Sathotho
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tonil@isi.ac.id
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Jurusan Teater Institut Seni Indonesia Yogyakarta
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Tonil, Jurnal Kajian Sastra, Teater dan Sinema
Published by Institut Seni Indonesia Yogyakarta
ISSN : 14116464     EISSN : 26858274     DOI : DOI: https://doi.org/10.24821/tnl.v19i2
Core Subject : Humanities, Art,
Arts Humanities
Tonil: Journal of Literature, Theatre, and Cinema Studies, issn: 1411-6464 (print) and issn: 2685-8274 (online), is a scientific journal in the fields of Theatre/Arts creations & studies under the publication banner of Theatre Department, Faculty of Performing Arts in Indonesia Institute of the Arts Yogyakarta (ISI Yogyakarta). TONIL publication emphasizes its role as a medium for communication, discussion, advocation and literary refinement. TONIL serves as a vessel to accommodate the ideas and criticism from the artists, scientists, practitioners, and also all positions involved in the field of Theatre and Performing Arts
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 6 Documents
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Search results for , issue "Vol 17, No 2: September, 2020" : 6 Documents clear
Drag Performance oleh Javanese Cross Gender dalam Cabaret Show di Yogyakarta Langen Bronto Sutrisno
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4409

Abstract

Abstrak: Penelitian ini merupakan studi tentang drag performance yang meliputi drag queen, drag transgender, dan drag pria kemayu (feminine) dalam konteks  budaya masyarakat Yogyakarta. Penelitian ini melibatkan sumber data diantaranya informan yang terdiri dari artis cabaret show, penonton, dan masyarakat. Penelitian menggunakan pendekatan kajian budaya dengan model studi kasus tunggal terfokus yaitu dengan mengembangkan teori drag performance McNeal (1999) dan silang peran Dixon (1998). Validitas data penelitian diuji dengan peer debriefing sedangkan analisis data menggunakan model analisis interaktif  Miles dan Huberman (2016). Penelitian ini menemukan bahwa pertama, terdapat ambivalensi oleh karena adanya fantasi melawan realitas, fantasi pembebasan dari berbagai tekanan, dan dalam berbagai elemen pembentuk seni pertunjukannya. Kedua, adanya kompleksitas pelaku baik berupa pemain drag queen, pemain dari laki-laki kemayu, dan pemain dari transgender menghasilkan bentuk seni berupa parodi dan parodi diri seniman Javanese cross gender. Kata Kunci: drag performance, Javanese Cross Gender, Cabaret Show, Yogyakarta. Abstract: This study examines the drag performance which includes drag queen, transgender drag, and feminine-male drag in the cultural context of Yogyakarta. The data were obtained from cabaret show players, audiences, and the public. The study used a cultural studies approach with a case study model using McNeal's (1999) drag performance theory and the cross-role of Dixon (1998). Data were analyzed using the interactive analysis model of Miles and Huberman (2016). This research finds that first, there is ambivalence due to the existence of fantasy against reality, fantasy of liberation from various pressures, and in the various elements that build this performing arts. Second, the complexity of actors in the form of drag queen players, feminine-male players, and transgender players produces a style in the form of parodies and self-parodies of Javanese cross gender artists.Keyword: drag performance, Javanese Cross Gender, Cabaret Show, Yogyakarta.
MEMAHAMI FUNGSI GOSIP DALAM MASYARAKAT MELALUI FILM PENDEK “TILIK” Fakhirah Inayaturrobbani
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4353

Abstract

Abstrak: Gosip merupakan fenomena sehari-hari yang sering terabaikan dalam pengkajian ilmiah. Oleh karena itu, penelitian ini bertujuan untuk menganalisis perilaku gosip dalam film Tilik menggunakan teori psikologi evolusi Self-Concept Enhancing Tactician (SCENT) model. Teori model SCENT menjelaskan bahwa seseorang mencari dan mengevaluasi rumor dengan tiga tujuan yaitu pengembangan diri, promosi diri dan perlindungan diri. Penelitian ini menggunakan pendekatan kualitatif interpretatif (Denzin) untuk menjelaskan dinamika fungsi gosip dalam film Tilik. Hasil penelitian menunjukkan bahwa pelaku gosip negatif menggunakan gosip sebagai promosi dan perlindungan diri. Promosi diri para pelaku gosip melibatkan emosi bangga sementara itu fungsi perlindungan diri melibatkan emosi takut. Hasil penelitian ini menambah wawasan bagaimana fungsi gosip di masyarakat.Kata Kunci: Gosip, SCENT Model, pengembangan diri, promosi diri, perlindungan diri, Tilik, Denzin Abstract: Gossip is a daily phenomenon but largely neglected in the scientific literature. Therefore, this study aims to analyze the dynamics of gosip activities in the Tilik short movie. The theory used is the Self-Concept Enhancing Tactician (SCENT) model, it shows that a person is looking for information and evaluating that information with three objectives: self-empowerment, self-promotion, and self-protection. The method used in this study was interpretative qualitative approach (Denzin) to explain the function of gosip in Tilik movie. The results of this study indicate that gosip has two prominent functions: self-promotion and self-protection. Self-promotion involves the emotion of pride and self-protection involves the emotion of fear. This research is expected to add insight into how gosip is used in society.Keywords: Gossip, SCENT Model, self-development, self-promotion, self-protection, Tilik, Denzin
Analisis Struktur, Tekstur dan Permasalahan Politis Wayang Beber Jaka Kembang Kuning Wahid Nurcahyono
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4457

Abstract

Abstrak: Hasil penelitian ini berguna untuk melihat bentuk pementasan serta persoalan yang melingkupi sebuah bentuk kesenian bernama Wayang Beber Panji Jaka Kembang Kuning yang berada di Kabupaten Pacitan, Jawa Timur. Dari penelitian ini kita berharap agar  keberadaan kesenian ini tidak akan hilang meski harus mengikuti perkembangan selera masyarakat yang terus berubah. Salah satu usaha yang ditempuh adalah menuliskan struktur dan tekstur pertunjukan ini. Dengan mengetahui struktur dan tekstur serta persoalan lain yang melingkupi, maka generasi penerus pertunjukan ini tidak terbentur pada persoalan yang  menyebabkan pertunjukan ini semakin dijauhi masyarakat. Dalang atau penyaji pertunjukan bisa menggunakan hasil penelitian ini sebagai pedoman untuk menciptakan pertunjukan yang lebih menarik agar tidak selalu terjebak pada bentuk pertunjukan yang membosankan. Akibatnya penonton akan lebih mudah menikmati dan memahami pertunjukan seni tersebut. Akhirnya Wayang Beber sebagai pertunjukan akan tetap eksis karena mampu hadir dalam konteks masyarakatnya.Kata kunci : Struktur, tekstur, stagnasi, wayang beber, konteks. Abstract: The results of this study are useful for observing the form of performances and issues surrounding an art form called Wayang Beber Panji Jaka Kembang Kuning in Pacitan Regency, East Java.  From this research we hope that the existence of this art will not be lost even though we have to keep up with the changing tastes of society.  One of the efforts taken was to write down the structure and texture of this performance.  By knowing the structure and texture as well as other problems that surround it, the next generation of this show will not run into problems that cause this show to be increasingly shunned by the public.  The puppeteers or performance presenters can use the results of this research as a guideline for creating more interesting performances so they don't always get stuck in boring performances.  As a result, the audience will find it easier to enjoy and understand the art performance.  Finally, Wayang Beber as a show will still exist because it is able to be present in the context of its society.Keyword: structure, texture, stagnation, Wayang Beber, context.
Semiotika Lakon Wayang Beber Remeng Mangunjaya Elyandra Widharta
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4354

Abstract

Abstrak: Penelitian ini hendak menjelaskan tentang identifikasi dan karakteristik secara khusus di Gelaran Gunungkidul yang populer dengan nama Remeng Mangunjaya. Adapun tujuan dari penelitian ini adalah untuk menjelaskan teks lakon Wayang Beber Remeng Mangunjaya yang memiliki karakteristik struktur lakon dengan pendekatan semiotika. Dengan analisis melalui pendekatan semiotika lakon, terbukti bahwa secara karakteristik lakon Wayang Beber Remeng Mangunjaya memiliki keunikan sendiri dari teks lakon yang diceritakan. Metode yang digunakan dalam penelitian ini adalah metode analisis data kualitatif. Analisis menggunakan metode reduksi data dan sajian data, sehingga diperoleh kesimpulan mengenai semiotika teks lakon Wayang Beber Remeng Mangunajaya.Kata kunci: wayang, beber, remeng, mangunjaya, semiotika, lakon             Abstract: This study intends to explain the identification and specific characteristics of the Gelaran Gunungkidul which is popularly known as Remeng Mangunjaya. The purpose of this study is to explain the text of the Wayang Beber Remeng Mangunjaya play which has the characteristics of the semiotic approach structure. By analyzing the semiotic approach of the play, it is proven that characteristically the text of the Wayang Beber Remeng Mangunjaya has its own uniqueness. The method used in this research is qualitative data analysis. The analysis used the data reduction method and data presentation, in order to obtain conclusions about the semiotics of the Wayang Beber Remeng Mangunajaya play text.Keyword: wayang, beber, remeng, mangunjaya, semiotika, lakon
MISE EN SCÈNE FILM NYAI KARYA GARIN NUGROHO Surya Farid Sathotho; Philipus Nugroho Hari Wibowo; Nur Annisa Savini
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4444

Abstract

Nyai  (2016)  merupakan  sebuah  film  karya  Garin  Nugroho  yang  dibuat hanya  dengan  menggunakan  satu  kamera  dan  pengambilan  gambarnya  secara terus menerus tanpa henti (one take) untuk satu film secara penuh. Konsekuensi dari teknik tersebut menyebabkan Film Nyai tak ubahya seperti pementasan teater di atas panggung. Karya ini terinspirasi oleh beberapa karya sastra sekaligus. Untuk melakukan analisis terhadap Film Nyai, menggunakan konsep yang dikenal awal mulanya sebagai sebuah konsep pemanggungan di atas panggung  teater  dan  pada perkembangan  selanjutnya dikenal juga dalam dunia  sinematografi.  Pemahaman  mengenai  mise en scène  ini  sangat  penting untuk  pijakan  melakukan  analisis  terhadap  unsur-unsur  yang  ada  dalam  Film Nyai.Nyai merupakan film dengan idiom pertunjukan teater yang sangat kental. Blocking, Setting, Make Up benar-benar seperti pertunjukan teater di atas panggung. Sedangkan pergerakan, sudut pengambilan dan pemilihan lensa kamera dibuat semirip mungkin dengan pandangan manusia. Kata Kunci: mise en scène, film nyai, garin nugroho   Nyai (2016) is a film by Garin Nugroho which is made using only one camera and with long take technique for full film. As a consequence of this technique, Nyai is very as theater performance ona stage. This work is inspired by several literary works at once. To conduct an analysis of the Nyai, it uses a concept that was known in the beginning as a staging concept on the theater stage and later known in the world of cinematography. This understanding of mise en scène is very important for the basis of analyzing the elements in Nyai. Nyai is a film with a very strong theatrical idiom. Blocking, Setting, Make Up are really like theatre performances. Meanwhile, the movement, angle and selection of the camera lens are made as close as possible to human sight.Key words: mise en scène, nyai, garin nugroho  
The Fair and Wise King behind the Sacred Myth of Puak Reflected the Leader Horizon Representation of Kampong Tua Malay Nongsa: Ethnoecological Approach Arianto, Tomi; Suryani, Melly Siska
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 17, No 2: September, 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v17i2.4343

Abstract

Longing for a just and wise leader built a horizon of hope for society behind the mythical stories of the king of dreams. Like the fringe warriors in Javanese society, the Malays in Kampong Tua Nongsa have a role model king known as The King of Fuang. This study aimed to reveal the theme of ethnoecology in the Malay community behind the mythical story of Puak sacred in Nongsa, a Batam district. The ethnoecology approach connected a community paradigm that is formed due to natural phenomena. The interaction between humans and nature through the sacred existence of Puak was created by the role model of the king. This study used a qualitative descriptive method with observation data collection techniques and in-depth interviews. Analytical criticism techniques become a meant to reveal the ethnoecology behind the story. The results of this research show that there are two important things to discuss, namely the representation of the just king and cultural products from nature in the form of prohibitions. A king who is a role model for the hope of a community leader in the form of a king who is honest and keeps his promises, a king who does not want to be exalted and exalted, a king who is just and wise, a king who is simple, a king who protects and preserves nature. Meanwhile, the resulting cultural products are in the form of prohibitions on destroying forests, prohibitions on cutting hills, prohibitions on lying, prohibitions on speaking arrogantly, prohibitions on speaking dirty, and prohibitions on wasting wealth.

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