cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
-
Contact Email
-
Phone
-
Journal Mail Official
-
Editorial Address
-
Location
Kab. bantul,
Daerah istimewa yogyakarta
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 300 Documents
 2   3   4   5   6 
Lakon Laire Antasena: Konsep ”Jembar Tanpa Pagut” dalam Tradisi Wayang Ngayogyakarta Aris Wahyudi
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.v12i1.465

Abstract

Antansena adalah putra Dewi Urangayu, salah satu istri Bima. Dia adalah karakter yang unik di dunia wayangNgayogyakarta. Sebagai seorang ksatria Pandawa, Antasena mewakili kekuatan dan kebijaksanaan, rendah hati, danunik. Dia memiliki perilaku yang aneh terhadap saudara yang lain. Dia tidak pernah berkata sopan kepada siapapun, seperti Bima, ayahnya. Dia memiliki karakter yang khas yang tidak ditemukan dalam tradisi Mahabharata atautradisi wayang lainnya. Keberadaannya dilengkapi dengan karakternya, sejarah, dan kehidupan dari lahir sampaimati di dunia. Antasena yang benar-benar dibuat untuk menempatkan ide. Melalui mitologi wayang, karakterAntasena dari aspek kedatangannya adalah identifi kasi laut sebagai budaya Jawa akan menjelaskan konsep ’JembarTanpa pagut’, kualitas jiwa yang harus dibangun oleh orang Jawa untuk menghadapi kehidupan. Melalui hubungananalogi tersebut, kehidupan nyata orang Jawa harus memahami diri mereka ke tempat itu.Kata kunci: Antasena, wayang, konsep ’jembar tanpa pagut’ABSTRACTThe Antasena Play: ”Jembar Tanpa Pagut” Concept in Wayang Ngayogyakarta Tradition. Antansena was Dewi Urangayu’s son, one of Bima’s wives. He was a unique character in Ngayogyakarta wayang world. As a Pandawa knight, Antasena represented a powerful, wise, low-profi le but unique knight. He had such an odd behavior against his other brothers’. He never said politely to anyone, just like Bima, his father. He is the specifi c character in Ngayogykarata wayang tradition, because it will not be found in Mahabharata tradition or other wayang traditions. His existence comes with his character, history, and life from birth to death in wayang world. As a culture, Antasena is absolutely made for placing an idea. Through wayang mythology, a mean in Antasena character from his coming aspect is an identifi cation of ocean as Javaneses culture would explain the concept of ‘jembar tanpa pagut’, a soul quality which must be built by Javaneses to face life. Through such analogy relation, Indonesian’s real life (especially Javaneses) should understand themselves to place it.Keywords: Antasena, ocean aspect, ”jembar tanpa pagut” concept, life quality perfection leading.
Seni Musik Hadrah Putri di Pondok Pesantren Al Munawwir Krapyak ANDRE INDRAWAN; SUSANTI ANDARI; SURYATI -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.466

Abstract

Hadrah Music in Pondok Pesantren Al Munawwir Krapyak. This study investigates an Islamic musical genreknown as the Hadrah, practiced by female students of the Pondok Pesantren (Islamic boarding school) Al Munawwir.It is based on an ethnomusicological fi eld research conducted between May 2007 and September 2008.Thisstudy fi nds that basic song form is exist in the Hadrah’s songs while their lyrics are mostly taken from classical as wellas popular Islamic poem collections. Although the Hadrah song was performed by melodic ornamental improvisationtechniques that normally applied in reciting the Qur’an, the singer always try to follow the Arabic reading rulescarefully. This fi nding has given us an indication that in order to achieve a good result of musical production, aswell, the Hadrah singers have to master not only the art of Holy Qur’an recitation but also Arabic language fl uency.The female Hadrah is normally performed as a religious entertainment in the school’s traditions, such as anniversaryand graduation celebrations.
Iringan Kuda Lumping Ngesti Budaya SUBUH -; YUNI PRASETYO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.467

Abstract

Musical accompaniment of Ngesti Budaya horse dance. This article describes and analyzes a unique formperformance, presentation structure and growth of accompaniment of Ngesti Budaya horse dance through a descriptiveanalysis method. This dance represents a performing art owning characteristic, colour and also typical motion.One of the typical characteristic or element of this genre is a role of its musical accompaniment. Musical accompanimentalways accommodates dance movement pattern, assuring dance character, nguripke joget and develop;building dance plot atmosphere. At its growth, musical accompaniment does not only accompany dance, but withvarious its till can become important shares of dance and have to position is same in its presentation.
Musik Keroncong Campur Sari dalam Pluralitas Budaya Masyarakat Sawahlunto Yon Hendry
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.v12i1.468

Abstract

Artikel ini membahas fenomena musik keroncong campur sari yang berkembang di daerah Sawahlunto. Untukmemahami fenomena ini digunakan studi kasus pada Orkes Keroncong Campur Sari Irama Masa Sawahlunto.Berdasarkan penelitian disimpulkan bahwa musik Keroncong Campur Sari yang hidup di dalam masyarakatSawahlunto sangat berbeda dengan yang hidup di Jawa. Alat musik yang digunakan mengakomodasi alat musikdari berbagai etnis yang hampir mewakili semua etnis masyarakat yang hidup di Sawahlunto. Kondisi demikianpula yang menjadi alasan bahwa kesenian tersebut tidak bernama Campur Sari seperti di Jawa. Meskipun masihmenggunakan istilah campur sari, tetapi pola permainan musiknya dan repertoar lagunya pun merupakanpercampuran dari berbagai tradisi masyarakat yang hidup di dalamnya. Dengan demikian jelas bahwa pluralismemasyarakat Sawahlunto di sini terrefl eksikan pada pluralisme alat musik dan permainan orkesnya.Kata kunci: keroncong, campursari, musik tradisi.ABSTRACT Keroncong Campur Sari Music in Pluralism Sawahlunto People. This article mainly discusses about thekeroncong music phenomenon, campur sari, that has been developed well in Sawahlunto. In order to understand thisphenomenon, a case study was used for the research in campur sari keroncong orchestra “Irama Masa” Sawahlunto.Based on the research, it can be concluded that there is a signifi cant difference between the keroncong music campursari in Sawahlunto and in Java. The music instruments used for campur sari are those which accommodate some musicinstruments from the ethnic groups live in Sawahlunto. Based on this characteristic, therefore, the name of this keroncongmusic is not similar to the music that is well known in Java, Campur Sari. Although the name of campur sari is stillbeing used, but basically, the pattern in performing the music and its repertory are based on the mixing of many culturalaspects of people living there. Therefore, the pluralism of people in Sawahlunto is refl ected clearly on the pluralism of music instruments and of the orchestra performance.Keywords: keroncong, campur sari, traditional music.
Klambi Lurik Compang-Camping: Sebuah Komposisi Karawitan SUHARDJONO -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.469

Abstract

Klambi Lurik Compang-Camping Karawitan Composition. This article discusses the creation process ofKlambi Lurik Compang Camping karawitan composition. This composition is inspired by Jineman Klambi Lurik,penned by Wasiran –a traditional artist and teaching staff in Karawitan study programme in ISI Yogyakarta. Thisjineman is favoured by both laypeople and karawitan traditional artists. This composition consists of eight parts,united as one full composition. The creation methods are exploration, improvisation, and shaping.
Peranan Radio Republik Indonesia Yogyakarta Dalam Pelestarian Karawitan KRISWANTO -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.470

Abstract

The Role of Indonesian Republic Radio of Yogyakarta in Preserving Karawitan. This article discussesthe role of Indonesian Republic Radio (RRI) Yogyakarta in the preservation of karawitan. RRI Yogyakarta –bornthrough MAVRO (1934) and Japan Radio Hosokyoku (1942), offi cially established on September 11, 1945- is aplace for the existence of Uyon uyon Manasuka. Uyon-uyon Manasuka –originally known as Doyo Mardowo– becomesone of the prime shows in RRI Yogyakarta on the struggle of Ki Tjokrowasito who later became the boss. Thecharacteristics of uyon-uyon Manasuka which were different from uyon uyon Hadiluhung Sultan Palace and Uyonuyon Muryoraras Pura Paku Alaman, enrich the cultural treasures of Yogyakarta. Since its birth until now, its existencestill gets its own place for people of Yogyakarta. Even present society is still getting involved directly throughinteractive contacts. Besides uyon-uyon Manasuka, RRI Yogyakarta also facilitates the activities of community-uyonuyon packed in lunch-uyon uyon events
Analisis Simbolik Kyrie Eleison Karya Anna Wahyu Prasetyowati RINA MARTIARA; ANISA FEBRIANA
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.471

Abstract

Symbolic Analysis of Kyrie Eleison of Anna Wahyu Prasetyowati’s Work. This paper describes and interpretsthe Kyrie Eleison as a performing arts. Kyrie Eleison text is read through choreography elements that shape thethemes, motion, musical accompaniment, fashion makeup, fl oor pattern, form and stage layout. This paper useshermeneutic approach. Based on the research it can be concluded that this work has a deep meaning. The story ofJesus Christ journey in teaching the word with great passion until his death on the Cross is fi xated religious valuesthat serve as an example for mankind. This work also contains the values of humanity that every human being mustbe having a miserable, suffering, and death. Humans must be steadfast and strong in the face of every temptationthat comes when he/she want to achieve the highest inner awareness and understanding of divine truth.
Kritik Sosial Politik dalam Lakon Semar Gugat karya Nano Riantiarno SUMPENO -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.472

Abstract

Socio-Political Critique in Nano Riantiarno’s Semar Gugat. This article discusses social critique of SemarGugat play script, various symbolism within the play, and socio-historical factors behind the writing of Riantiarno’splays. Semar Gugat is interpreted as a manifestation of Riantiarno’s critiques to social, political, economy, and lawdisparities in Indonesia. Through this play, Riantiarno criticizes the authoritarian, corrupt, and colluded politicalsystem of New Order. Semar is a manifestation of grassroots people’s struggle against an authoritarian government.
Penciptaan Naskah Drama Pemberontakan Sisifus RANO SUMARNO
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 10, No 1 (2009): Juni 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v10i1.473

Abstract

The Rebellion of Syssiphus. The Rebellion of Syssiphus play script is an effort to response suicide phenomenonin Indonesia. Joining two different social lives among human life in Indonesia and Greek mythology constructsthis creation as a surrealism play script. The purpose of this creation is: 1) to create a joint script of two differentrealms between Sissyphus’ life and recent reality of Indonesian people’s life in surrealist plot, (2) to produce a scriptconstantly contextual with man’s problem in life, (3) to enrich Indonesia Drama documentation through a scriptwith high motivational contents as an alternative of destiny. As a anti-suicide campaign for Indonesians, the authorinvokes a brilliant thinking of existentialist philosopher, Albert Camus, within the script to be performed andwatched. The implementation is not wholesome, but adapting Pancasila values. Therefore, this script is importantas a reference for students who teach and perform absurd scripts. Most drama observers say that the emergence ofabsurd script proposed by group of dramatist in 1950’s could not be released from Camus’ thought
Penciptaan Drama Musikal Sweeney Todd: The Demon Barber of Fleet Street (Sweeney Todd:Tukang Cukur Haus Darah) Husni Wardhana; Suharyoso Suharyoso
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 12, No 2 (2011): Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v12i2.474

Abstract

Proses kreatif penyutradaraan Sweeney Todd: The Demon Barber of Fleet Street memberi banyak pelajarantentang drama musikal. Drama musikal memiliki keunikan tersendiri dalam proses maupun bentuk penyajiannya.Jenis drama ini sangat populer di Amerika, dan merupakan satu-satunya sumbangan Amerika dalam memperkayajenis teater dunia. Cerita ini merupakan kisah legendaris Inggris. Berkali-kali naskah karya Christopher Bond inidimainkan di berbagai benua di dunia, namun bila dilihat dari sejarah penciptaannya, kisah balas dendam seorangtukang cukur ini telah melalui proses adaptasi yang panjang. Beberapa penulis besar di jamannya sebelum melewatitangan kreatif Christopher Bond telah mengkreasi ulang naskah ini. Drama musikal ini berawal dari komedi musikaldan sejak tahun 1920 mengangkat tema-tema serius yang biasa disebut musik Broadway atau musik Amerika. Biasadisajikan dalam panggung besar West End dan Broadway di London, New York, Australia dan Asia. Beberapa kalidipanggungkan oleh kelompok teater sekolah atau kelompok teater amatir. Hampir seluruh pertunjukan drama musikal Sweeney Todd: The Demon Barber of Fleet Street diiringi dengan musik dan dinyanyikan. Dialog diubahmenjadi nyanyian. Para aktor di tuntut untuk dapat menyanyi, akting, dan menari. Drama musikal merupakanpertunjukan yang menggunakan tiga ciri utama, yakni menyanyi, menari, dan berakting yang mendominasi hampirseluruh pertunjukan.Kata kunci: penyutradaraan, drama musikal, kisah legendaris, Sweeney Todd, teater sekolah.ABSTRACTThe musical drama Sweeney Todd: Th e Demon Barber of Fleet Street. The creative directing process of this drama has given many good lessons to the art work of performing arts, especially to musical drama performance. The musical drama has its own unique characteristics in its process and performance. This type of drama is very popular in the USA, and has been the only contribution from the USA to enrich the typical of world theater. Sweeney Todd: The Demon Barber of Fleet Street is as an English legend, especially in England. This script created by Christopher Bond has been performed for several times in all around the globe. Having seen from its creating history, the story of a barber who takes revenge has been through long adaptation process. Some big authors in this era, before proceeded by Christopher Bond’s creative touch, had creatively recreated this script. The musical drama Sweeney Todd: The Demon Barber of Fleet Street was fi rstly created from the musical comedy drama and since 1920 has shown serious themes that are well known as Broadway music or American music. This drama has commonly been shown on a big stage West End and Broadway in London and New York, also in Australia and Asia. Moreover, it has also been performed by groups of school-theater and amateur theater. Most of the musical drama performances Sweeney Todd: The Demon Barber of Fleet Street are accompanied by music and are sung as well. The dialog is changed into songs. The actors are supposed to be able to sing, to act, and to dance. The musical drama is a performance that uses three main characteristics, namely: singing (solo, ensemble, and choir), dancing (individual and group), and acting, that dominates in most parts of the performance.Key words: directing, musical drama, legend story, Sweeney Todd, theater.

Page 4 of 30 | Total Record : 300

 2   3   4   5   6 

Filter by Year

2008 2025


Reset
Filter By Issues
All Issue Vol 26, No 2 (2025): Agustus 2025 Vol 26, No 1 (2025): April 2025 Vol 25, No 3 (2024): Desember 2024 Vol 25, No 2 (2024): Agustus 2024 Vol 25, No 1 (2024): April 2024 Vol 24, No 3 (2023): December 2023 Vol 24, No 2 (2023): Agustus 2023 Vol 24, No 1 (2023): April 2023 Vol 23, No 3 (2022): Desember 2022 Vol 23, No 2 (2022): Agustus 2022 Vol 23, No 1 (2022): April 2022 Vol 22, No 3 (2021): Desember 2021 Vol 22, No 2 (2021): Agustus 2021 Vol 22, No 1 (2021): April 2021 Vol 21, No 3 (2020): Desember 2020 Vol 21, No 2 (2020): Agustus 2020 Vol 21, No 1 (2020): April 2020 Vol 20, No 3 (2019): Desember 2019 Vol 20, No 2 (2019): Agustus 2019 Vol 20, No 1 (2019): April 2019 Vol 19, No 3 (2018): Desember 2018 Vol 19, No 2 (2018): Agustus 2018 Vol 19, No 1 (2018): April 2018 Vol 18, No 3 (2017): Desember 2017 Vol 18, No 2 (2017): Agustus 2017 Vol 18, No 1 (2017): April 2017 Vol 17, No 3 (2016): Desember, 2016 Vol 17, No 2 (2016): Agustus 2016 Vol 17, No 1 (2016): April 2016 Vol 16, No 3 (2015): Desember 2015 Vol 16, No 2 (2015): Agustus 2015 Vol 16, No 1 (2015): April 2015 Vol 15, No 2 (2014): Desember 2014 Vol 15, No 1 (2014): Juni 2014 Vol 14, No 1 (2013): Juni 2013 Vol 13, No 2 (2012): Desember 2012 Vol 13, No 1 (2012): Juni 2012 Vol 12, No 2 (2011): Desember 2011 Vol 12, No 1 (2011): Juni 2011 Vol 11, No 2 (2010): Desember 2010 Vol 11, No 1 (2010): Juni 2010 Vol 11, No 2 (2010): Desember Vol 10, No 2 (2009): Desember 2009 Vol 10, No 1 (2009): Juni 2009 Vol 9, No 2 (2008): Desember 2008 Vol 9, No 1 (2008): Juni 2008 More Issue