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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 300 Documents
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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.
Mapalalian Agus Kastama Putra
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.456

Abstract

Komposisi “ Mapalalian” merupakan representasi dari sebuah aktifi tas permainan anak-anak di Bali yaitu Meduldulan.Di balik kesederhanaan permainan Medul-dulan terkandung nilai-nilai seperti belajar untuk menghormatisesama teman, bersifat sportif dan saling tenggang rasa. Di samping itu dalam permainan Medul-dulan terdapat pulasuasana kegembiraan, kelincahan, riang, gembira, senang, bersembunyi, serta berlarian. Hal-hal tersebut dicobadiolah melalui proses musikalisasi menjadi suatu bentuk komposisi musik etnis. Beberapa tahap yang dilalui dalampembuatan komposisi ini ialah eksplorasi, improvisasi, pembentukan, serta evaluasi. Instrumen yang dipilih sebagaimedia ungkap dalam komposisi ini adalah instrumen yang diambil dari Gong Kebyar, kendang Banyuwangi, sulingGambuh, Ongek-ongekan. Instrumen-instrumen tersebut dipilih karena memiliki karakter suara yang sesuai denganide garapan dalam komposisi ini.Kata Kunci: mapalalian, medul-medulan, komposisi musik.ABSTRACT” Mapalalian” Composition. This composition represents a children’s play activity in Bali called Medul-dulan.Behind its simplicity Medul-dulan game contains values such as learning to respect peers, sportsmanship and mutualtolerance. In addition, Medul-dulan game also presents the atmosphere of excitement, agility, cheerful, happiness, hidingand running. Those things were tried to be processed through the music and resulted in a form of ethnic musical composition.Some of the stages traversed in making this composition were exploration, improvisation, creation, and evaluation. Theinstruments selected as the showing media in this composition were partly taken from Gong Kebyar, Banyuwangi drums,Gambuh fl ute, and Ongek-ongekan. These instruments were selected due to their voice character which fi t the idea of thiscomposition.Keywords: mapalalian, medul-medulan, musical composition, Balinese music
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.
Penciptaan Naskah Drama Ambu Hawuk Berdasarkan Tradisi Lisan dan Perspektif Jender Budi Darma
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.460

Abstract

Artikel ini membahas proses penciptaan naskah drama Ambu Hawuk . Naskah ini diadaptasi dari cerita lisandan mitologi lokal yang berkembang di daerah Sunda. Cerita lisan dikumpulkan melalui wawancara mendalamdengan para informan yang mewakili berbagai versi. Setidaknya terdapat enam versi tradisi lisan mengenai tokohini, yaitu versi Cikawungading, Manonjaya, Cianjur, Sukaraja, Parungponteng, dan Galunggung. Dari keenamversi tersebut terdapat variasi dan kesamaan. Naskah ini mencoba membangkitkan kembali semangat feminismedalam peristiwa-peristiwa yang dijalin dalam legenda Ambu Hawuk. Sistem patriarki masyarakat Sunda lebih seringmemandang perempuan sebagai sebuah kaum yang memiliki keterbatasan dibandingkan dengan kaum laki-laki.Cerita ini menggambarkan seorang perempuan yang dianggap berada di belakang laki-laki dan menjadi bayangbayangseorang laki-laki, muncul menjadi seorang pemimpin.Kata kunci: Ambu Hawuk, naskah drama, tradisi lisan.ABSTRACTThe Creating Process of Drama Script Ambu Hawuk Based on the Oral Tradition and the GenderPerspective. This article discusses about the creating process of the drama script Ambu Hawuk. This script was adaptedfrom the oral story and the local mythology developed in Sunda. This oral story was compiled through the intensive interviewwith some sources of information that represented many kinds of versions. There are six versions of the oral traditiontalking about this character, namely: the version of Cikawungading, Manonjaya, Cianjur, Sukaraja, Parungponteng, and Galunggung. Of those six versions, there are varieties and similarities. This script tries to develop feminism spirit on someinterrelated events in Ambu Hawuk legend. From the perspective of Sundanese’ point of view on the patriarchy system, women are regarded as God’s creature who have more basic physical and mental limitations than men. This story describes a woman who is regarded as a person behind the man’s existence and becomes the man’s shadow; but soon afterwards, she becomes a leader.Keywords: Ambu Hawuk, Drama Script, Oral Tradition
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.
Karawitan Pakeliran Gaya Kedu Bagelen Suhardjono Suhardjono; Trikoyo Trikoyo
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 1 (2011): Juni 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i1.464

Abstract

Karawitan pakeliran gaya Kedu Bagelen merupakan salah satu gaya Kedu yang berkembang di wilayahPurworejo. Fungsi karawitan tertuang dalam sajian-sajian gending yang disesuaikan dengan adegan-adeganpakeliran. Karawitan berfungsi membantu menciptakan suasana adegan dan karakter tokoh wayang. Strukturpenyajian gending terdiri dari gending Pengawe-awe yang berbentuk ladrang dilanjutkan dengan bagian gendingGagalan berbentuk ketuk 2 kerep minggah ketuk 4 kerep. Gending tersebut laras slendro patet sanga. Bagian gendingpakeliran terangkai dari awal pertunjukan atau bedhol kayon sampai akhir pertunjukan atau tancep kayon. Metodedeskriptif analisis digunakan dalam penelitian ini untuk mengungkap penyajian gending-gending dalam karawitanpakeliran gaya Kedu Bagelen. Ciri khas yang membedakan dengan karawitan pakeliran yang lain terletak pada garapbalungan gending.Kata kunci: karawitan, pakeliran, wayang Kedu, BagelenABSTRACTGammelan Music for Wayang of Kedu Bagelan Style. The Javanese musical functions are expressed in gendinginstruments adjusted into pakeliran scenes; the instrument helps in creating the scene atmosphere and puppet characters.Kedu Bagelen musical style has its own characteristics which are different from other styles. The structure of gendinginstrument presents gending Pengawe-awe in ladrang notation followed by parts of gending Gagalan which consists of 2 kerepminggah rhythms and 4 kerep rhythms. Gending instrument applies the notation of laras slendro patet sanga. The seriesof gending pakeliran are sequenced from bedhol kayon / opening scene until tancep kayon/ending scene of the puppet show. The research applied descriptive method of analysis in revealing the presentation of gending in Kedu Bagelen pakeliran musical style. There were several characteristics that distinguished it from other pakeliran music. The most prominent specifi cation of pakeliran work on Bagelen Kedu musical styles lied on the work of balungan gendingKeywords: gamelan music, wayang performance, Kedu Bagelen

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