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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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Fotografi Pertunjukan: Fenomenena Tubuh dari Panggung menjadi Rupa RY. ADAM PANJI PURNAMA
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.v10i1.475

Abstract

Performace Photography: The Body Phenomenon from Stage to Physical. Performance photographyhas tried its best to capture the phenomena on stage. These two art mainstreams are completely different both fromthe subject and the objects. Performing art utilizes eyes and noses as the guidance to the feeling and meaningfulbody movements. Meanwhile, photography only utilizes eyes due to the still images it uses. Body in the performanceis the amalgamation of physical body and spiritual body. The detachment from a daily life to act as others accordingto the performance demand makes a performance meaningful and atmospheric for the audience.
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.
Eksistensi Legong Keraton: Tradisi dan Kreasi Ni Nyoman Sudewi
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.v12i2.477

Abstract

Legong Keraton atau Legong tradisi sebagai produk budaya masa lalu telah memberi kontribusi yang cukupsignifikan bagi pertumbuhan tari di Bali. Kehadirannya yang mengusung prinsip estetik berbeda dari genre tariperiode sebelumnya. Tari Gambuh telah menempatkan Legong Keraton sebagai sumber penciptaan tari. Legongtradisi menjadi sumber penciptaan Legong kreasi. Legong kreasi berarti Legong tradisi yang disajikan dengan carabaru, juga menunjuk pada garap tari palegongan, yaitu tarian yang dalam penciptaannya memanfaatkan elemenelementertentu dari konsep estetika Legong Keraton yang terakumulasi dalam konsep palegongan. Legong tradisiberkembang dan tetap eksis berdampingan dengan variannya yang baru. Pembahasan tentang Legong Keratonini dimaksudkan untuk memahami karakteristik Legong Keraton yang ada dalam cakupan Legong tradisi danperkembangannya menjadi Legong kreasi. Legong Keraton merupakan perpaduan berbagai aspek seperti tema,struktur tari, pola tabuh, dan rias busana, yang diekspresikan penarinya. Masing-masing aspek saling berkaitansehingga Legong dapat diidentifi kasikan sebagai sebuah bentuk tari yang memiliki muatan isi tertentu, mencerminkankeindahan sebuah ekspresi budaya Bali.Kata kunci: Legong tradisi, Legong kreasi, tari Bali.ABSTRACTThe Tradition and Existence of Legong Keraton. Legong Keraton or traditional Legong as a cultural productof the past has undoubtedly contributed signifi cantly to the development of other dances in Bali. Legong Keraton with itsdifferent aesthetic principles is different from the previous dance genre, such as Gambuh. Traditional Legong has become the basis of new creations of Legong. Creations of Legong are also called as creations of Palegongan because those creations use certain elements of the aesthetic concepts of Legong Keraton accumulated in the palegongan concepts. Traditional Legong develops and continues to exist with new variants of Legong. The examination of Legong Keraton aims to understand the characteristics of Legong Keraton that exists within the scope of traditional Legong and its development into the creations of Legong. Legong makes use of various dance elements such as theme, structure of the dance, percussion patterns, and fashionable make-up applied by the dancers. These elements are so intertwined that Legong can be identifi ed as a form of dance that has a specifi c content and refl ects the beauty of Balinese culture.Keywords: Legong dance, Balinese dance, palegongan
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.
Gaya Pedalangan Sunda Cahya Cahya; Timbul Haryono; Soetarno Soetarno
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.v12i2.479

Abstract

Memahami gaya pedalangan Sunda pada dasarnya adalah sebuah upaya penjelajahan dan pemetaan jagatpedalangan Sunda yang kaya dengan nilai-nilai tradisi dan permasalahan-permasalahan uniknya. Salah satunyaadalah permasalahan gaya pedalangan yang identik dengan keberadaan paguron-paguron dalang dengan tokohtokohdalang yang mencirikan warna paguronnya masing-masing. Berkaitan dengan gaya pedalangan itulah, maka pada akhirnya mucul bentuk gaya mendalang perseorangan yang lazim disebut gaya mandiri. Penelitian ini membahas berbagai gaya mandiri yang berkembang di wilayah Jawa Barat.Kata Kunci: wayang golek, gaya pedalangan, paguron dalangABSTRACTSundanese Puppetry Style. Understanding Sundanese puppetry style is basically venturing and mapping Sundanesepuppetry world which is rich of traditional values and distinctive problems. One of the problems is related to puppetrystyle in which the puppet masters are characterized by their mainstream or school. Such style has later developed intoindependent styles of Sundanese puppetry. This research discusses various independent styles of Sundanese puppetry.Key words: Sundanese wayang, wodden puppet
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.
Kehidupan Wayang Orang Sriwedari dalam Perspektif Determinasi Penari Rol Hersapandi Hersapandi
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.v12i2.482

Abstract

Penari rol atau penari bintang dalam Wayang Orang memiliki kualifi kasi sangat baik dalam menjalankan perannya, penguasaan keterampilan dan pengetahuan yang tinggi, dan kemampuan mengembangkan karakter peran yang dilakukan. Keterampilan kompetitif unggul tentu menjadi ikon untuk menyerap perhatian audien. Ikon peran terletak pada penonton. Oleh karena itu, seorang penari bintang perlu memiliki semangat tersebut untuk memotivasi kehidupan kelompok Wayang Orang. Kemampuan aktingnya mencerminkan suatu totalitas kesenian aktor dalam kehidupan pribadinya, yaitu untuk menjaga kualitas seorang penari profesional kuat sebagai agen. Aktor ini sering tampak melindungi karismanya. Dia selalu mencoba untuk melakukan sebanyak mungkin, sehingga ia tidak perlu membuat penari baru lainnya untuk menggantikannya. Alasannya adalah penari baru dianggap sebagai pesaing yang dapat menggantikan posisi potensi ekonomi. Semangat kinerja Wayang Orang adalah kualitas artistik penari bintang yang menyatakan simbol dan nilai artistik yang diperlukan oleh para penonton.Kata kunci: Wayang Orang, bintang penari, manajemen seni.ABSTRACTSriwedari Wayang Orang Performance. The term “rol” dancer or star dancer refers to the main dancer who becomes the star in wayang orang. It has an excellent qualifi cation in performing his/her role, an excellent mastery of knowledge and skills, and capability of developing the characters of the role that s/he performs. His/her superior competitive skills certainly become an icon for absorbing the audiens’ attention. Since the icon role lies on the audience, a star dancer needs to have such skills to motivate the life of the wayang orang group. As an agent, his/her acting skills have refl ected a totality of the actor’s artistry in his/her private life, i.e. to keep professional dancer’s quality stronger as a whole.The agent has as individudal and inttelectual integrity as a professional actor. The actor often seems to protect his charisma. S/he always tries to perform as many times as possible, so s/he does not need other new dancers to replace him/her. The reason is that the new dancers are considered as competitors who may replace his/her position and certainly his/her economic potentials as well. The spirit of wayang orang performance is the star dancer’s artistic quality expressing the symbols and artistic values needed by the audience.Key words: wayang orang, art management, star dancer.
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.

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