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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 117 Documents
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PENYUTRADARAAN DRAMA MUSIKAL SECANGKIR TEH KARYA ROMUALDO SITUMORANG byta indrawati
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 2 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i2.3022

Abstract

Abstrak: Naskah drama Secangkir Teh merupakan kisah dari seorang anak yang mempunyai impian menjadi Cinderella. Naskah drama Secangkir Teh dipilih karena belum pernah dipentaskan. Alasan pemilihan bentuk pertunjukan drama musikal dikarenakan memiliki unsur yang kompleks sebagai sebuah pertunjukan. Teori yang digunakan adalah teori penyutradaraan dari Gordon Craig. Penyutradaraan drama musikal Secangkir Teh ini menggunakan tiga metode yang meliputi bedah naskah, latihan dasar-dasar teater, dan latihan bernyanyi. Naskah Secangkir Teh karya Romualdo Situmorang kemudian telah dipentaskan  pada tanggal 05 Juni 2018 di Gedung Societed Militair Taman Budaya Yogyakarta pukul 20.00 WIB dengan baik dan lancar. Kata kunci: naskah Secangkir Teh, Impian, penyutradaraan, drama musikal.  Abstract: Secangkir Teh play script is a story of a child who has a dream of being Cinderella. Secangkir Teh play script was chosen because it had never been performed. The reason for choosing this play as a musical is because it has a complex element as a performance. The theory used is directing theory from Gordon Craig. The directing of Secangkir Teh play script uses three methods which includes play script breakdown, theater basics exercises, and singing practices. Secangkir Teh play script by Romualdo Situmorang has finally been smoothly performed on June 5, 2018 at the Societet Militair Building in Taman Budaya Yogyakarta at 20.00 WIB. Keywords: Secangkir Teh,  play script, Dream, directing, musical drama.
PENCIPTAAN TOKOH SEDANG DALAM NASKAH TERDAMPAR KARYA TERJEMAHAN A. KASIM AHMA (JUDUL ASLI : NA PELNYM MORZU KARYA SLAWOMIR MROZEK) bening, muhammad
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The actor is one small part of a human who had more awareness of some part of reality. Thus the actor has a harder task in the sphere of reality they lived. Not just a matter of showing their existence by showing his talents on stage, but also the expertise to adapt to any form of reality he encountered to keep him exist in any reality. In the Terdampar script, maintaining the reality of human existence in space was happened. The ability of humans to change the reality, not as big as the ability of reality to change the humans. In Terdampar performance, the three characters which is Gendut, Sedang, and Kurus caught in the trap of the reality. They were then doing whatever can be done to maintain the existence of themselves. Keywords:Reality,human,Actor,Existence. 
PENGEMBANGAN METODE IMPROVISASI KETOPRAK UNTUK PELATIHAN TEATER MODERN nanang arisona
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 2 (2017): November 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i2.3095

Abstract

Abstrak: Tujuan umum penelitian ini adalah mengembangkan metode improvisasi dalam ketoprak  menjadi metode pelatihan dalam teater modern, sehingga menghasilkan metode pelatihan yang sistematis, aplikatif, dan terukur. Tujuan khusus penelitian ini adalah: (1) mengidentifikasi metode improvisasi dalam ketoprak sebagai upaya penggalian nilai-nilai tradisi; (2) merancang metode improvisasi untuk pelatihan teater modern; (3) mengaplikasikan metode improvisasi dalam pelatihan teater modern. Penelitian ini dirancang dengan pendekatan reseach and development. Penelitian ditindaklanjuti dengan pengembangan metode dan aplikasi metode dalam pelatihan dan pementasan. Langkah-langkah penelitian adalah: (1) pengumpulan data; (2) pengelolaan data ; (3) analisis data; (4) merancang metode; (4) implementasi metode; (5) penyempurnaan metode. Penelitian ini bersifat multi years yang dirancang dalam dua tahap. Tahap pertama adalah mengidentifikasi metode improvisasi ketoprak, merancang metode, aplikasi metode dalam pelatihan. Tahap kedua adalah mengaplikasikan metode dalam pementasan dan penyempurnaan metode. Capaian penelitian tahap kedua ini adalah metode improvisasi untuk pelatihan teater modern dalam bentuk buku.  Kata kunci: Improvisasi, ketoprak, pelatihan teater modern Abstract: The general objective of this research is to develop methods of improvisation in ketoprak to become training methods in modern theaters, so as to produce training methods that are systematic, applicable, and measurable. The specific objectives of this research are: (1) to identify improvised methods in ketoprak as an effort to explore traditional values; (2) designing improvised methods for modern theater training; (3) applying the improvisation method in modern theater training. This research was designed with a reseach and development approach. The research was followed up with the development of methods and application of methods in training and staging. The research steps are: (1) data collection; (2) data management; (3) data analysis; (4) designing methods; (4) method implementation; (5) perfecting the method. This research is a multi-year study designed in two stages. The first stage is to identify ketoprak improvisation methods, design methods, application methods in training. The second step is to apply the method in staging and perfecting the method. This second stage of research is an improvised method for training modern theater in book form. Key words: Improvisation, ketoprak, modern theater training
KISAH PANJI PADA RELIEF CANDI SEBAGAI INSPIRASI PENCIPTAAN FILM philipus nugroho hari wibowo
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 1 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i1.2783

Abstract

Abstrak: Penciptaan karya film ini terinspirasi relief Panji pada Candi Kendalisodo di Gunung Penanggungan, Jawa Timur. Panji merupakan cerita asli Indonesia yang digubah dalam berbagai versi sastra: kidung, lisan, juga relief pada candi. Dengan metode penciptaan Road Movie dan Theory of Adaptation Hutcheon, kisah Panji diadaptasi dari relief menjadi sekumpulan peristiwa berbentuk film perjalanan. Penciptaan ini menghasilkan sebuah film pendek berdurasi 15 menit dengan judul “Melacak yang Tersurat”. Kata Kunci : Cerita Panji, Relief, Kendalisodo, Film Perjalanan, Adaptasi Abstract: The creation process behind this movie is inspired by the Tale of Panji carved in Candi Kendalisodo's stone wall at Gunung Penanggungan, East Java. Panji is one of Indonesian original stories and has been told in various literary forms: hymn, oral story, and also carved into temple. With the Road Movie creation method and Hutcheon's Theory of Adaptation, the Tale of Panji is adapted from stone carvings to a sequence of events told in a road movie. This creation produces a short movie in 15 minutes duration titled “Melacak yang Tersurat” (Tracking the Facts). Key words : Tale of Panji, Stone Carving, Kendalisodo, Road Movie, Adaptation
IDENTITAS GENDER DAN SENSUALITAS TUBUH TANDHAK DALAM PANGGUNG PERTUNJUKAN LUDRUK LEROK ANYAR insroatun naima
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 16, No 1 (2019): 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v16i1.3129

Abstract

Abstrak: Penelitian ini menganalisis ketubuhan para tandhak ludruk pada kelompok Ludruk Lerok Anyar Kabupaten Malang. Penelitian ini penting dilakukan untuk melihat bagaimana tubuh digunakan menjadi alat untuk menunjukkan identitas gender dan bagaimana tubuh digunakan menjadi alat untuk merepresentasikan nilai sensualitas. Identitas gender dan sensualitas tubuh dianalisis menggunakan teori identitas gender dan sensualitas. Penelitian ini menggunakan metode kualitatif, dengan teknik pengumpulan data melalui studi pustaka, wawancara, observasi dan pengamatan video rekaman pertunjukan. Hasil penelitian menunjukkan bahwa panggung ludruk mampu memberikan ruang bagi para transgender sebagai tandhak ludruk untuk menunjukkan identitas keperempuanan. Tubuh para tandhak dikonstruksi melalui serangkaian gerak, gesture, make up dan kostum. Kata Kunci: tandhak ludruk, identitas gender, sensualitas tubuh, kelompok Ludruk Lerok Anyar. Abstract: This research analyzes “Gender Identity and Tandhak Body Sensuality in Ludruk Lerok Anyar Stage Performance”. This research is important to do as it aims to see how body is used as a medium for showing gender identity and how the body is used as a media representing sensuality value. The body’s gender identity and sensuality is analyzed through the gender and sensuality theory. This research uses qualitative method, with data gathering technique done by library research, interview, observation, and performance video recording monitoring. The results show that Ludruk performance is capable to give transgenders a space as tandhak ludruk to show their feminine identity. The body of these tandhak are constructed by a set of movements, gestures, make-up, and costumes. Key Word:  tandhak ludruk, gender identity, body sensuality, Ludruk Lerok Anyar community
PEMERANAN TOKOH SYLVIA DALAM NASKAH THE TYPISTS KARYA MURRAY SCHISGAL TERJEMAHAN YURI AKHMAD S galuh subekti
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 2 (2017): November 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i2.3100

Abstract

Abstrak: Manusia modern saat ini telah mengalami perubahan cara pandang dengan berbagai macam persoalan menyangkut individu bahkan kelompok. Penyebabnya begitu kompleks, dengan kemajuaan saat ini manusia modern lebih banyak mengikuti keinginan yang sebenarnya bukan pilihannya. Manusia menganggap bahwa dirinya baik-baik saja tanpa sadar bahwa dirinya telah menjadi objek dan mengalami ketidakberadaan. Manusia modern saat ini tanpa sadar telah mengalami dan merasakan kehampaan, harapan, kesepian, dan kecemasan. Sejak Sylvia muda hingga tua Sylvia banyak mengalami perubahan. Kesadaran sebagai manusia yang kehilangan eksistensi didukung oleh hadirnya Paul. Pementasan akan disajikan dengan konsep pantomim dan gaya akting realis. Dengan begitu aktor dituntut untuk bisa mengabungkan konsep tersebut dengan capaian semaksimal mungkin. Kata kunci: Teater, aktor, Sylvia, akting, teater tubuh, pantomim.  Abstract: Modern man has now undergone a change of perspective with various problems concerning individuals and even groups. The reason is so complex, with the current pace of modern man more follow the actual desire is not the choice. Humans assume that he is alright without realizing that he has become an object and experiencing non-existence. Today's modern man has unknowingly experienced and felt the void, hope, loneliness, and anxiety. Since Sylvia young to old Sylvia many changes. Awareness as a manuisa who lost existence is supported by the presence of Paul. Staging will be presented with the concept of pantomime and realist acting style. With so actors are required to be able to combine the concept with the achievement as much as possible. Key word: Theatre, actor, Syvia, acting, physical theatre, pantomime. 
PENCIPTAAN TOKOH ROSE THOMAS DALAM NASKAH PERANGKAP KARYA EUGENE O’NEILL TERJEMAHAN FARIED. ABE nindya pramesti
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 2 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i2.3021

Abstract

Abstrak: Naskah Perangkap karya Eugene O’Neill (terjemahan Faried W. Abe) bercerita tentang kondisi ketidakadilan yang dialami oleh perempuan. Tokoh Rose Thomas dalam naskah tersebut merupakan seorang pelacur muda berusia 22 tahun, memiliki bayi, dan mengidap TBC. Karya pemeranan ini menggunakan teori akting realis Stanislavski untuk menghadirkan tingkah laku manusia secara wajar diatas panggung. Proses penciptakan karakter tokoh dilalui dengan langkah: membedah naskah; membuat biografi tokoh berdasarkan data dalam naskah; dan kemudian latihan pemeranan realis dengan pemeran tokoh pelangkap lain.  Kata kunci: Rose, Eugene O’Neill, Pelacur, TBC, Kekerasan, Perangkap,  Realis, Stanislavski  Abstract: Perangkap, a playscript by Eugene O'Neill (translation of Faried W. Abe) tells the story of the conditions of injustice experienced by women. Rose Thomas in the script is a young prostitute aged 22 years, had a baby and has tuberculosis. This role play uses Stanislavski's realist acting theory to present human behavior naturally on stage. The process of creating character traits is passed through the steps: dissecting the script; make biographies of figures based on data in the script; then practice the realist role-playing with the cast of the other trapping characters. Key words:  Rose, Eugene O'Neill, The Web, Prostitute, Tuberculosis, Violence, Realist, Stanislavski
PENCIPTAAN TOKOH GENDUT DALAM NASKAH TERDAMPAR KARYA SLAWOMIR MROZEK TERJEMAHAN A.KASIM AHMAD arianggi, tiara
Tonil: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 1 (2017): MENYOAL PENCIPTAAN TEATER
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

In the Terdampar sript, in an attempt to maintain the existence of reality occurs. The third character named Gendut, Sedang and Kurus trapped in a reality in it, which make existence within each and defend the truth by giving birth to an absurd incident. Actors have a device the body, then here how actors can apply in roles and different roles in order to create the appropriate character from the character select. The actor is an individual human being who has the mindset and the existence of its own, so here how an actor can be banging their existence to the character to be played  on stage. Key words: Human, Actor, absurdity, Existence
TINJAUAN TERHADAP ASPEK DRAMATIK IKLAN RADIO surya sathotho
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 14, No 2 (2017): November 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v14i2.3096

Abstract

Abstrak: Penelitian ini bertujuan untuk melihat adanya aspek dramatis yang membangun sebuah iklan radio dan peran seni teater dalam pembuatannya. Iklan radio sebagaimana drama radio memiliki struktur drama pada umumnya yaitu adanya penokohan, alur, tema, latar, dan dialog. Dari struktur tersebut dapat dilihat adanya aspek dramatik berupa konflik sebagai hakekat drama, suspense dan foreshadowing. Aspek dramatik sebuah iklan sangat penting karena dari situlah sebuah iklan dapat menarik perhatian pendengarnya. Untuk mendapatkannya, konflik dibangun berdasar tema dengan dialog atau monolog. Selanjutnya suspense ataupun foreshadowing seringkali muncul secara bersamaan. Kata atau kalimat yang digunakan untuk ekspresi foreshadowing, seringkali diucapkan dengan pola tertentu yang menghasilkan suspense. Pemahaman teoritis tersebut, disertai latihan praktek yang berhubungan dengan teater ternyata sangat bermanfaat dalam pembuatan iklan radio. Aspek teoritis teater, seperti penulisan dan analisis lakon sangat berguna bagi pembuatan naskah iklan radio. Dari segi praktis, latihan pernafasan, olah vokal, acting auditif sangat membantu mewujudkan iklan radio yang siap diudarakan. Kata kunci: Aspek dramatis, iklan radio, drama radio Abstract: Dramatic aspect is very important to build an appropriate radio advertisement and the role of theater art creation. A radio advertisement has a structure such as characterization, plot, theme, setting, and dialog as well, where the dramatic aspect of radio advertisement occurred. It contains conflict as the essence of drama, suspense, and foreshadowing. The dramatic aspect of an advertisement is very important since it where the advertisement able to attract its audience. To achieve such dramatic attraction, conflict is build based on theme with the dialog or monolog. Furthermore, suspense and foreshadowing often appear altogether. Words or sentences to express foreshadowing, often speak out in certain pattern, which create suspense. Theoretical understanding and practical exercises of the theatre happen to be very useful in the making of radio advertisement. The theoretical aspect of the theatre, such as playwriting and text analysis can used in preparing the advertisement’s text, while the practical one, such as breathing exercise, vocal, and audio acting is needed in creating the ready on air radio advertisement. Key words: dramatic aspect, radio advertisement, radio drama
LAKON PERJALANAN KE BARAT EPISODE SUN GO KONG DI NEGERI KALINGGA DALAM OPERA CINA SANGGAR MEKAR TERATAI SEMARANG afifah emi nuzulia
TONIL: Jurnal Kajian Sastra, Teater dan Sinema Vol 15, No 1 (2018): 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/tnl.v15i1.2784

Abstract

Abstrak: Opera Cina merupakan hiburan populer yang mengadaptasi legenda dan mitos Tionghoa ke dalam bentuk pertunjukan. Opera ini disebarkan dan dipentaskan di berbagai negara, salah satunya di Semarang, Indonesia, oleh Sanggar Mekar Teratai. Sanggar ini mementaskan Opera Cina berjudul Sun Go Kong di Negeri Kalingga sebagai wujud akulturasi kebudayaan masyarakat Tionghoa dengan masyarakat setempat. Melalui metode Kernodle, akan dijabarkan tiga tahapan pementasan teater dengan hasil akhir berupa kritik terhadap unsur-unsur Opera Cina ini. Kata kunci: Opera Cina, legenda dan mitos Tionghoa, akulturasi, Semarang, Sanggar Mekar Teratai Abstract: Chinese Opera is a popular entertainment that adapts Chinese legends and myths for performances. This opera is spread and performed in various countries, one of them being in Semarang, Indonesia, by Sanggar Mekar Teratai. This studio performs a Chinese Opera titled Sun Go Kong di Negeri Kalingga (Sun Go Kong in Country of Kalingga) as a form of acculturation between the Chinese and the local's culture. Through Kernodle's method, it shall be discussed on how a theatre should be prepared in three stages with the final result as a critic against this Chinese Opera's elements. Key words: Performance, Chinese opera, Chinese legend and myth, acculturation, Semarang, Sanggar Mekar Teratai.

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