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Creativity And Research Theatre Journal Institut Seni Indonesia Padangpanjang Jln. Bahder Johan. Kel.Guguk Malintang. Kec. Padang Panjang Timur. Kota Padangpanjang Sumatera Barat Telepon : 0752 (82077)
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Creativity And Research Theatre Journal
Published by Institut Seni Indonesia Padang Panjang
ISSN : 27155404     EISSN : 27155412     DOI : http://dx.doi.org/10.26887/cartj
Core Subject : Humanities, Education, Art,
Arts Humanities Education
Creativity And Research Theatre Journal welcomes full research articles in the area of creativity and research on performing Art .following subject areas: Practice, Process, performing Art Discourse, Dramaturgy.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 75 Documents
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Exploration of Ndikkar and Tortor's Movements in the Performance Before I Forget You Pt I Sari, Melati Pravita; Rifandi, Ilham; Rahmatika, Aulia
Creativity And Research Theatre Journal Vol 5, No 2 (2023): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v5i2.4114

Abstract

This article discusses how to use basic cultural body movements as basic material in creating the performance Before I Forget You Pt I. This performance is one of the repertoires from Aka Bodi Theater which is being performed at the Jong Batak Arts Festival in 2023. This performance is the result of a collaboration between young artists The city of Medan carries a diversity of cultural identities, from the initiator to the performer, so the basic body materials used are also diverse. Specifically, this article discusses how to explore the basic movements used, such as the Ndikkar movement from the Karo ethnic group and the Tortor movement from the Toba Batak ethnic group. This research uses qualitative research methods to find an in-depth understanding of the process of creating the work. Therefore, the results of this research will be related to the process of exploring Ndikkar and Tortor's movements in the Before I Forget You Pt I performance.
The Potential of Randai as an Educational Tourism Attraction Based on Experiential Learning in West Sumatra Fadli, Muhammad; Fasandra, Fernando
Creativity And Research Theatre Journal Vol 6, No 1 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i1.4494

Abstract

As one of the traditional theaters of West Sumatra, randai has not been too interested as an intangible cultural product that has great potential to be developed as an attraction in the concept of edu-tourism. In contrast to piriang dance and silek which are more widely known, and are in demand by tourists to learn or as performances at tourist sites. This study aims to identify the potential of randai as an experiential learning-based edu-tourism attraction using qualitative methods. Data collection was carried out by means of observation, interviews and documentation. The results showed that in randai there are various moral lessons both exposed directly and through signs in its movements and formations. Randai becomes so complex as “raw material” that is worth processing in the concept of edu-tourism because this art combines role art, literary art, dance art, and music art at the same time. Making randai as part of a tourism product such as a tour package that offers experiental learning for tourists who come to West Sumatra.
Randai Malin Nan Kondang: From Kaba to Musical Performance Wenhendri, Wenhendri; Firdaus, Firdaus
Creativity And Research Theatre Journal Vol 6, No 1 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i1.4371

Abstract

Randai Minangkabau is a medium to convey kaba or folklore through gurindam or sung poetry and galombang (dance) derived from the movements of silat Minangkabau. Randai Malin Nan famous as a vehicle over Kaba Malin Kundang as an important performing arts musical developed in the present era. Using the method of ekranization or transfer process is done by applying the principle of ekranization as a unity of dramatic embodiment. Randai Malin Nan famous, is expected to be a performing arts creativity that considers didactic aspects, critical aspects, and aspects of entertainment in one whole. 
Analysis Of Verbal And Nonverbal Communication Methods In The Cast Of The Character Antigone Performance Of Sophocles' Play Antigone Precillia, Monita; Arimbi, Dewi; Darmadi, Dedi
Creativity And Research Theatre Journal Vol 5, No 2 (2023): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v5i2.4115

Abstract

The study is based on the performance of the play Antigone by Sophocles. The aim is to analyze the way the cast uses body language, facial expressions, and voice intonation to convey messages and emotions of their characters. This research uses qualitative methods with text analysis, performance observation, and interviews. The study explains the various aspects of theatrical communication used in the cast of Antigone, providing an in-depth understanding of how communication can enrich the understanding of characters and stories in theatrical performances. The findings of this study are expected to deepen the understanding of theater arts practitioners and theater researchers, helping them develop more memorable interpretations and executions of characters in performing arts works. Furthermore, this research has the potential to enrich the repertoire of classical Greek literature and broaden the understanding of communication in modern performing arts.
Praktik Studio Sebagai Metode Penciptaan Monodrama Nasib Sial Seorang Badut Prayuda, Jerry; Saaduddin, Saaduddin; Yuniarni, Yuniarni
Creativity And Research Theatre Journal Vol 6, No 2 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i2.4474

Abstract

Pemeranan tokoh badut dalam monodrama membutuhkan pendekatan mendalam untuk menciptakan karakter yang kuat. Dalam lakon monodrama"Nasib Sial Seorang Badut" karya Agus Noor, kisah seorang badut yang menghadapi berbagai tantangan hidup diwujudkan dengan menggunakan metode praktik studio. Dalam praktiknya, penelitian ini bertujuan mengeksplorasi berbagai kemungkinan yang didapatkan dalam proses praktik tersebut. Menggunakan tahapan studi pustaka, pengumpulana data, pengolahan data dan praktik studio, emphasis kekaryaan menekankan studi acting realisme dan kolaborasi teknologi media sebagai kekuatan kekaryaan.
Mewujudkan Tokoh Sayoko dalam Naskah Sari Jeli Almond Karya Wishing Chong dengan Metode Akting Stanislavski ‘Magic If’ Fatriza, Dinda; Birowo, Pandu; Pramayoza, Dede
Creativity And Research Theatre Journal Vol 6, No 2 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i2.4976

Abstract

Artikel ini menguraikan tentang proses penciptaan peran dan pemeranan tokoh Sayoko dalam Naskah Sari Jeli Almond karya Wishing Chong. Sebagai suatu bentuk penciptaan dan penyajian, pemeranan tokoh Sayoko diawali dengan analisis karakter. Tokoh Sayoko adalah karakter yang memiliki kompleksitas masalah dalam kehidupannya yakni permasalahan dalam rumah tangga, yang dibayang-bayangi pula pula oleh permasalahan masa lalu. Masalah itu membuat Sayoko selalu memiliki konflik dengan suaminya, Tatsuro, yang dipertajam oleh tidak pekaan suaminya atas konflik yang juga dialaminya dengan kedua orang tuanya. Karakteristik tokoh Sayoko ini dapat dilihat dari tiga aspek, yaitu; dimensi-dimensi tokoh Sayoko meliputi fisiologis, psikologis dan sosiologis, kedudukan tokoh Sayoko dalam teks, dan bentuk tokoh Sayoko. Perwujudan tokoh Sayoko dalam proses penciptaan ini menggunakan metode akting Stanislavski yaitu magic if. Magic If atau pengandaian yang ajaib harus pemeran wujudkan dengan beberapa tahapan, meliputi; observasi, imajinasi, ingatan emosi, dan mendandani tokoh.
Application Of Dramatic Elements In Theatre Performances In The 2023 Sunda Language Drama Festival Precillia, Monita
Creativity And Research Theatre Journal Vol 6, No 2 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i2.4858

Abstract

The research entitled Application Of Dramatic Elements In Theatre Performances In The 2023 Sunda Language Drama Festival uses qualitative research methods: observation, interviews, documentation, and data analysis. This research discusses how Sunda plays a role in building the dramatic elements of theater performances. The issue of the diminishing existence of regional languages is one of the factors in the formation of the Sunda Language Drama Festival. The Sunda Language Drama Festival does not focus on the application of Sunda dialectics but on the form of performance, so that Sunda only becomes a language in communication. these conditions are certainly not effective if the purpose of the Sunda Language Drama Festival is an effort to maintain Sunda. The phenomenon of shifting language use and forms of regional language preservation is an urgency to study at this time, one example is the Sunda Language Drama Festival. This paper aims to analyze the effect of Sunda dialogue on the dramatic structure of the performance.
Characterization of Datuk Maringgih In the Script Siti Nurbaya: Wajah Di Sebalik Punggung Written by Edy Suisno Ardafi, Yudhistino; Barkah, Hendri Jihadul; Susanti, Desi
Creativity And Research Theatre Journal Vol 6, No 2 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i2.4804

Abstract

Siti Nurbaya: Wajah di Sebalik Punggung, written by Edy Suisno, focuses on the character Datuk Maringgih. In the novel Siti Nurbaya by Marah Roesli, Datuk Maringgih is known as a cruel and greedy man. Datuk Maringgih is a rich old merchant who is considered evil because he married Siti Nurbaya as a debt to all of Siti Nurbaya's family debts. At first glance, Datuak Maringgih's actions look evil and detrimental to Siti Nurbaya. If you pay closer attention, taking into account the traditional aspects regarding the role of the Niniak Mamak in Minangkabau, as stated in the saying "anak dipangku, kamanakan dibimbiang", that a mamak has obligations and takes part in the life of his nephew. Analyze Datuk Maringgih's characterization, and look at three aspects of Lajos Egri, namely physiological, sociological, and psychological. The performance of the script Siti Nurbaya: The Face Behind the Back is realized in the form of a musical drama. According to Joe Deer, a musical drama is a drama performance where the actors who act as characters on stage are required to be able to depict the atmosphere of the story being played using singing and dancing as a medium of expression. A good actor is not only an actor who is good at acting on stage but also has to be proficient with matters related to musicality and choreography. It is not an easy matter to bring a character to life on stage as a musical drama actor. The actor is not only required to act when the performance starts until it ends but also has to master the acting and choreography related to the storyline at the same time.
Semiotic Community Perspectives on Offerings in Traditional Jathilan Performances in Yogyakarta: A Semiotic Study Piri, Tirza Benedicta; Avero Pramasheilla, Dinda Assalia; Gustyawan, Tofan; Irianto, Ikhsan Satria
Creativity And Research Theatre Journal Vol 6, No 2 (2024): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v6i2.4941

Abstract

In Javanese terms, Jathilan stands for "Jarane jan thil-thilan" which means "The horse moves irregularly". People in the city of Yogyakarta know jathilan as part of a certain ritual procession that uses the properties of an artificial horse or commonly called jaran kepang. Jathilan traditional art itself cannot be separated from rituals and sesaji used as a form of expression of prayer and hope. The formulation of the problem in this journal is: How do people view the belief that sesaji are a "culture" that will continue to live side by side with humans?. Using qualitative data analysis, this study examined the symbolic meaning of offerings in Yogyakarta's traditional art ceremony of jathilan. Offerings are a manifestation of moral values, reverence for ancestors, and the existence of a healthy interaction between humans and nature, according to the study's findings from the community perspective.
Kajian Penonton Terhadap Pertunjukan Drama Musikal Dara Petak Dara Jingga di Candi Pulau Sawah Siguntu Dharmasraya Yuliana, Lestari; Saaduddin, Saaduddin; Herwanfakhrizal, Herwanfakhrizal
Creativity And Research Theatre Journal Vol 7, No 1 (2025): Creativity And Research Theatre Journal (CARTJ)
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/cartj.v7i1.5410

Abstract

Drama musikal Dara Petak Dara Jingga merupakan perpaduan antara pertunjukan, drama, tari, dan musik serta seni visual. Pertunjukan ini berangkat dari kisah Dara Petak Dara Jingga yang bersal dari kerajaan Dharmasraya Sumatera Barat. Pertunjukan ini telah diselenggarakan sejak tahun 2019 hingga tahun 2022. Daya tarik drama musikal Dara Petak Dara jingga melihat masyarakat Dharmasraya memiliki kepedulian tinggi menyaksikan pertunjukan ini pada waktu dilangsungkannya kegiatan. Penelitian ini bertujuan untuk mengetahui penerimaan dan penafsiran penonton serta melihat unsur struktur dan tekstur pada pertunjukan. Kajian Penonton Terhadap Pertunjukan Drama Musikal Dara Petak Dara Jingga" menggunakan metode kualitatif yaitu penonton memberikan tanggapan, penafsiran terhadap pertunjukan sesuai dengan pemaknaan masing-masing penonton. Penonton menanggapi struktur dan tekstur dari pertujukan serta memberikan penerimaan penonton terhadap pertunjukan tersebut. Berdasarkan analisis terhadap data yang didapatkan, bahwa penonton dapat ditinjau berdasarkan karakteristik penonton, konsep penonton, tipe penonton, dan jenis penonton. Selain itu kajian terhadap penonton menyatakan bahwa lokasi pertunjukan, dan pengalaman estetika penonton berperan dalam memberikan penerimaan dan penafsiran penonton. 

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