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INDONESIA
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 9, No 2 (2008): Desember 2008" : 8 Documents clear
Komposisi Tari Bunga di Atas Karang DARMAWAN DADIJONO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.454

Abstract

The Composition of “Flower on Coral” Dance is about a transformational phenomenon realized into adance called “Flower on Coral.” An art performance cannot be separated from its stage since it is an importantand integrated part of the art performance itself. Space of the performance becomes the main convention tobuild artistic communication between the star and the audience. Choices of the staging form are not just forbuilding physical distance but also building spirit. The ritual aspect of the dance is dealt by the presence of an artperformance. Humans’ art which becomes inseparable part of the nature is expected to raise new religious spacefor the humans to believe in God. ‘Walk by the Cross’ is a Catholic tradition used to improve humans’ spiritual life.Many Catholics do this tradition just as Jesus Christ did. So, there are many places built for religious visits and toexperience the passion of Christ harder before He died.
Pemimpin: Sebuah Komposisi Karawitan BAMBANG SRI ATMOJO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.455

Abstract

The Leaders. This karawitan compotition based on the current situations of Indonesian political leaders andgovernment. As we can see from printed and electronic media, there are political leaders and government peoplewho corrupt, violate the laws, and so on. This has inspired the writer to write a piece of karawitan compositionentitled “The Leader”. In this composition, the writer is trying to criticize the situations, give some moral messages,and ask people not to follow the bad examples of those leaders. The process of composition has involved phaseslike exploration of the ideas, improvisation, and composition. This composition is played softly in laras pelog patetbarang and it can take the form of ladrang, ayak-ayak, lancaran and playon.
Ikonisitas Tata Panggung: Sebuah Kajian Semiotika Seni Rupa Teater UNTUNG TRI BUDI ANTONO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.457

Abstract

The Semiotic of Stage. Semiotics is a study dealing with signs and sign systems. Signs are created for theneeds of communication and information. According to Piercean’s, semiotics in theatre is a transformation of storysigns which symbolically become iconic signs of its acts. Stage setting is an artistic part of theatre which makes usethe potentials of iconicity. Since its functions as a drama support of the acts, its potentials of iconicity optimize itsfunctions.
Menelusuri Karya dan Karsa Manthou’s Sebagai Seniman dan Pencipta Campursari JOKO TRI LAKSONO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.458

Abstract

Manthous as Campursari Musician and Composer. The study reveals that in his early age Manthous wasnurtured in a highly disciplined environment, and he had a strong determination to become a reliable fi gure in theart-world. Before composing Campursari Manthous had dealt with Pop Krontjong which was well-recognizedworldwide. In addition, Manthou’s also served as a recording programmer in several well-known recording studios.Through years Manthous has developed his musical skills as music player, singer, composer and artist manager. Hiscompositions contain simple lyric, diction, and rhyme. They have been composed in accordance to his personalmoods, marketing strategies and orders. By composing Campursari, he expects all groups of people, especially theyoung generation, can accept and enjoy Javanese musical performance (karawitan) in different form
Simfoni No. 40 Bagian Pertama Wolfgang Amadeus Mozart F. XAVERIA DIAH K
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.459

Abstract

The First Symfoni No 40 Wolfgang Amadeus Mozart. Symphony is a great composition, whichconventionally consists of four parts. At the end of the eighteenth century it became the main format of orchestralmusic. However, it became prominent at the time of Beethoven. Symphony is a great and ambitious piece of musicsince it is played for 20-45 minutes in length, containing an expansion of tone colors and dynamics of classicalorchestra. It has been known that classical symphony usually consists of four parts inciting broader emotion bythe created tempo and nuance. Mozart’s three last symphonies are Mozart’s masterpieces and Symphony No. 40,for example, contains connotations of romantic signs ignored by his predecessors. Although Symphony No. 40employs minor tones, it is not sad but cheerful, playful, passionful, and dramatic. The fi rst part of the Symphonyuses Allegro Sonata format which consists of three parts, namely exposition, development and recapitulation.
Kidung Jaka Bandung TATANG RUSMANA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.461

Abstract

The Creation of Jaka Bandung Play. Jaka Bandung Play is created from a legend using Malabar Kingdom andBandung Lake as its story backgrounds. The name of the kingdom has been changed into Datarluhur Pangulinganfor the sake of the play. The story depicts the human existence of Parahyangan represented by Rahiang JakaBandung. The play is approached by using particular technique of directing, so called “verbal arts”. Its presentationon stage relies on beauty, hyper reality, theatricality and new theater codes.
AMÈN: Tatakelola Wayang Jekdong dalam Tradisi Jawa Timuran WISMA NUGRAHA CHRISTANTO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.462

Abstract

Amen: Jekdong Shadow Puppet Play Management in East Java Tradition. Amen is a moving jekdongshadow puppet performances from one place to another place. This is done by a cantrik ( puppet master assistant)in his last period of study. This is a kind of procession preparing a puppet master assistant to meet any possibilitiesand challenges in different kinds of situations for his future shadow puppet performances. Amen is a better wayfor a puppet master assistant to know and compete in the markets of shadow puppet business. Furthermore, amenis also done by a dalang ( puppet master) together with some panjak (musicians) in rainy season when farmers startto cultivate their rice fi elds. Since it is not the time for harvest yet and not the time for them to do some traditionalceremonies and rituals, amen becomes a way of
Pertunjukan Wayang Dalam Era Global SOETARNO -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 9, No 2 (2008): Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v9i2.463

Abstract

Shadow Puppet Performances in Global Era. This article discusses the changes of shadow puppetry inrelation to the changes of society in global era. Some relevant changes are in the fi elds of: (a) communicationtechnology; (b) social systems; and (c) value systems. To anticipate these changes, puppet masters have also madesome changes in their performances. The shadow puppet performances and society cannot stand alone but theyhave mutual interactions. Each of them may act as an object or as a subject. Thus, in transitional or developingsociety, the infl uences of social and shadow puppetry are mutual. Shadow puppet performances reveal socialtendencies while society show infl uences on the development of shadow puppetry world.

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