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Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts)
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : 23386770     DOI : https://doi.org/10.24821/resital
Core Subject : Humanities, Art,
Arts Humanities
Resital : Jurnal Seni Pertunjukan merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni pertunjukan. Jurnal Resital pertama kali terbit bulan Juni 2005 sebagai perubahan nama dari Jurnal IDEA yang terbit pertama kali tahun 1999.
Arjuna Subject : -
Articles 8 Documents
 1 
Search results for , issue "Vol 10, No 2 (2009): Desember 2009" : 8 Documents clear
Musikalisasi Puisi “Hatiku Selembar Daun” Royke B. Koapaha; Umilia Rokhani; Nurul Farida
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.476

Abstract

The musical poem of “Hatiku Selembar Daun”. Music and poetry have a signifi cant relationship; they bothhave an element of sound. This study discusses the relation of the transformation of poetry to musical poem in“Hatiku Selembar Daun” by Djoko Damono Sapardi. The study was conducted by means of the form of music andharmony through musicological studies, as well as the relationship between music and poetry in a musical poemitself. Based on the analysis we concluded that the dominant harmonious relationship between music and the meaningof the poem “Hatiku Selembar Daun” deals with the creative elements in it.
Dekorasi dan Dramatika Tata Panggung Teater Untung Tri Budi Antono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.478

Abstract

Decoration and Dramatic of the Theatre Stage Setting. Pada awalnya tata panggung teater hanya berfungsisebagai dekor permainan drama saja sampai dengan abad 18 di Eropa. Kemudian berkembang fungsi dan penataannya,yaitu juga sebagai lingkungan permainan yang mendukung dramatika peristiwa lakon. Dengan demikian, tatapanggung sebagai latar ruang, waktu dan suasana adalah salah satu fenomena unsur visual dalam seni teater yangberada pada fungsi dekorasi dan dramatika.
Karawitan Pakeliran Gaya Jawa Timuran Asal Sugiarto
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.480

Abstract

East Java’s music for wayang style. East Java’s music for wayang style has its own characteristics that distinguishfrom other styles, such as Yogyakarta and Surakarta’s style. This paper describes a typical characteristic East Javamusic for wayang using qualitative methods. The elements covered including the structure and function (music forwayang, mood song, gedhogan, and kepyak). Based on the observation can be concluded that Gandakusuma SlendroPatet Nem peace is music used for the fi rst scene in all character and country. In addition, East Java music forwayang use four mode ( pathet), i.e. sepuloh mode, wolu mode, sanga mode, and serang mode.
Membaca Sandur Bojonegoro dan Sandur Tuban J. Catur Wibono; Trisno Tri Susilowati; M. Ali As’ad
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.481

Abstract

Reading Bojonegoro and Tuban’s Sandur Performances. Sandur performance is a form of social and culturalactivities of agrarian society. This study focuses on the difference between Bojonegoro and Tuban’s Sandurperformances. This performance is a form of expression patterns of thought and feeling into a tangible folk art. Itwill compare the themes of the stories, the actors, makeup and fashion, properties, music accompaniment, stages,time of performances and audiences. Comparative study of aesthetic forms an important aspect in order to analyze atraditional theater. Based on the research concluded that Sandur performance is one way to present the creative ideaswith aesthetic value. Performing of Sandur also has a complexity of meaning contained therein.
Komposisi Karawitan ‘Dinamika Rumah Tangga’ Wasiran -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.483

Abstract

“The Dinamika Rumah Tangga” Karawitan Music Composition. ’Household Dynamics’. The purpose ofthis creation is transforming the household dynamics in the form of karawitan musical composition. Dynamics embodiedin the form of rhythm, tempo, vocal, harmony, the arrangement of the stage, lighting, sound, costume andpuppet performances. Puppet performances are intended to enhance the audience’s imagination based on the musicalatmosphere, the lyrics and the fl ow of rhetoric. The composition is motivated by the story of Begawan Wisrawa,Danaraja and Goddess Lokati in a play ”Bedhahing Lokapala”. This work was inspired by the arrogant behavior,jealousy, hate, anger, lies, prejudice, exclusion of human rights and confl ict between characters.
Pengembangan Metode Pembelajaran Mata Kuliah Tari Surakarta Dasar Bambang Tri Atmadja
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.484

Abstract

Metode pembelajaran mata kuliah Tari Surakarta Dasar di Jurusan Tari FSP ISI Yogyakarta mengalami perubahanparadigma, kurikulum yang memberlakukan pengurangan jumlah Sistem Kredit Semester (SKS) sesuai denganKurikulum Berbasis Kompetensi (KBK), berdampak tidak tercapainya isi muatan mata kuliah secara keseluruhandan kualitas. Berdasarkan pengalaman lapangan, perlu adanya pembenahan metode pembelajaran dengan mempertimbangkantingkat kualifi kasi normatif atau standar pembelajaran. Hal ini dapat dilakukukan dengan cara memadatkanmateri ajar rantaya I dan II menjadi satu materi yang mewakili keseluruhan dalam kesatuan materi rantayaputri, rantaya putra alus dan rantaya putra gagah. Pemadatan masing-masing materi tari dasar dilakukan agar pesertadidik secara mudah belajar tarian bentuk pada jenjang mata kuliah berikutnya.
Tatahan dan Sunggingan Wayang Golek Menak Yogyakarta Dewanto Sukistono; Timbul Haryono; R.M. Soedarsono; Soetarno -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.485

Abstract

The Sculpture and Painting of Yogyakarta Wooden Puppet. The wayang golek Menak is one of the threedimensionalpuppet performance in Indonesia. The ‘Menak’ word indicate that the story was taken from the ‘SeratMenak’, that’s different version with wayang golek Purwa wich taken from ‘Mahabarata’ or ‘Ramayana’ story, thatwas popular in West Jawa. In Yogyakarta, wayang golek Menak was popularized by Ki Widiprayitna about 1950.Based on differences in the source story, then of course there are also differences in the form of puppets, included inthe carving and coloration techniques, in Javanesee language is called ‘tatahan’ and ‘sunggingan’. This article intendsto reveal the concept of carving and coloration, especially the style of Ki Widiprayitna.
Pathêt: di Atas Kertas dan di Atas Panggung Wayang Kulit dalam Perspektif Teori Praktik Wisma Nugraha Christianto; Timbul Haryono; G. R. Lono L. Simatupang; Soetarno -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 2 (2009): Desember 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i2.486

Abstract

Pathêt: on the Paper and on the Stage of Shadow Puppet Theater in Practice Theory Perspectif. Researchesabout karawitan focusing on pathêt has given conceptual result which repairs and clarifi es the result of previousresearches, with different paradigms. Some are even repetitive. On the other hand, in the practical level and socialdevelopment, some changes and dynamic art performing paradigm have changed. If the researches and the researchparadigms on this matter cannot accommodate the changes, the result will be static. There have been some pathêtresearches that inspired a critical development of karawitan and performance studies. The result of the researchesimplied a temporal context, demanding revisiting on the temporary context and its relation to non-theoretical matter,partial, practicality, and social reality. A scientifi c construction based on human activity as a practice is neededto construct scientifi c atmosphere to balance social dynamics, performance, and the harmony of gending karawitanrelated to the utilization of pathêt as a part of coherent structure. Social reality of wayang kulit stage is close to theaesthetic and art feel towards karawitan music. Social structure and performance structure in the present time do notalways posses linier relation to the symbolic structure and past aesthetic. Symbolic and aesthetic constructs have theability of symbolic formation and high level of musical appreciation. Therefore, Pierre Bourdieu’s practical critiqueserves as an alternative encouragement reacting to critical pretension towards problem solution and reception ofpathêt in the conceptual and practical level

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