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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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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
Pertunjukan Wayang Topeng Pedalangan Yogyakarta Sumaryono Sumaryono
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.v12i2.487

Abstract

Wayang topeng pedhalangan Yogyakarta pada tulisan ini dikaji dari berbagai unsur seni, serta tata hubungan antarunsur seni di dalamnya. Unsur-unsur seni tersebut meliputi seni gaya, topeng karawitan, lakon, dalang, tata busanatari, gaya tari dan tempat pementasan. Dalam seni pertunjukan, wayang topeng pedhalangan merupakan perwujudan aspek-aspek yang saling terpadu dan menghasilkan suatu seni pertunjukan yang memiliki ciri-ciri tertentu yang khas yang menyangkut bentuk dan gaya pementasan. Suasana keakraban dengan penonton merupakan ciri khas dari pertunjukan sebagai representasi seni pertunjukan rakyat. Seni pertunjukan topeng pedhalangan Yogyakarta dianalisis berdasarkan teks dan konteksnya sehingga dapat dipahami makna yang tersirat dari pertunjukan tersebut sekaligus dapat dipahami konteks sosial budaya dari lingkungan seni pertunjukan ini. Diharapkan melalui kajiansecara multilapis ini didapat pemahaman yang lebih mendalam mengenai seni tradisional kerakyatan di wilayah Yogyakarta ini.Kata kunci: Wayang topeng pedhalangan, gaya pementasan, analisis tekstualABSTRACTYogyakarta Mask Puppetry Dance Performance. The paper examines Yogyakarta mask puppetry in various art elements, and the relationship among those elements. The elements include style, karawitan mask, play, puppet master, costume, dance style and stage. In performances, mask puppetry represents the intertwined elements producing an artperformance with typical characteristics. The typical characteristics concern with the performance form and style. Intimacy with the audience is the hallmark of the performance and the representation of folk performing arts. Yogyakarta mask puppetry performing arts was analyzed based on its text and context so as to understand the implied meaning of theperformance as well as to understand the sociocultural context of the performing arts. It is expected that this multi-layeredstudy of Yogyakarta mask puppetry gives a deeper understanding on the topic discussed.Key words: mask puppetry, staging style, textual analysis
Kèjhungan: Gaya Nyanyian Madura dalam Pemaknaan Masyarakat Madura Barat pada Penyelenggaraan Tradisi Rèmoh Zulkarnain Mistortoify; Timbul Haryono; Lono L. Simatupang; Victorius Ganap
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 1 (2010): Juni 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i1.488

Abstract

Kèjhungan in Rèmoh Tradition on West Madura. Kèjhungan or singing style comes from the activity of peoplesinging about their everyday lives in Madura’s society. When the kèjhungan has become an “established” singing style,therefore the meaning of the kèjhungan includes the ownership meaning that is inherited through oral traditions andlegitimized in the culture of the people of Madura. The research’s assumption explains that the existence of the kèjhunganbecomes an important conscious for the whole singing culture of the Madura people. Even, in the elite village life for examplein the “gathering tradtion” of blatèr community, kèjhungan has become their identity of existence. This research is a studyon the representation of values when the kèjhungan is made as a symbol or legitimate image for the blatèr communityin the Madura society. The fi ndings of this research explains that kèjhungan has become the object of consumption thatis advanced to the blatèr community in achieving their respect. With their power, the blatèr can construct traditionalkèjhungan values into outstanding symbols in strengthening their existence in Madura’s society.
Rim-ba: Karya Tari Hasil Refleksi Kehidupan Suku Anak Dalam Sarjiwo Sarjiwo; Widyanarto Widyanarto
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.v12i2.489

Abstract

Karya tari “Rim-ba” merupakan hasil dari refl eksi penata tari terhadap kehidupan Suku Anak Dalam (Orang Rimba) di Bukit Duabelas Propinsi Jambi. Hutan yang menjadi habitat dan tempat bernaung Suku Anak Dalam semakin sempit areanya. Hal tersebut disebabkan oleh adanya penebangan liar (illegal logging) maupun perluasan lahan perkebunan sawit. Tema yang diangkat dalam garapan karya tari ini adalah perjuangan hidup orang rimba. Bentuk penyajiannya simbolis representasional yang terbagi dalam empat adegan, yaitu adegan satu (introduksi) tentang keterbelakangan, adegan dua tentang ritus orang rimba, adegan tiga tentang aktivitas mata pencaharian orang rimba, dan adegan empat tentang perusakan rimba. Karya tari ini didukung oleh empat orang penari. Gerak tari berorientasi pada perilaku kehidupan sehari-hari orang rimba. Musik pengiring merupakan musik hasil editing secara digital dengan software nuendo dengan memasukkan unsur suara vocal. Tata rupa pentas berdasarpada atmosfi r suasana hutan, meliputi property instalasi kayu, akar sulur gantungan dan dedaunan. Busana yangdikenakan menyerupai busana asli Suku Anak Dalam yang sudah dimodifi kasi. Sedangkan tata cahaya yangdigunakan berorientasi pada nuansa cahaya alam.Kata kunci: rimba, suku anak dalam, bukit duabelasABSTRACT“Rim-ba”: A Dance refl ecting the Life of Anak Dalam Tribe. Rimba dance is the result of the choreographer’srefl ection on the life of Anak Dalam tribe (forest people / Orang Rimba) in Bukit Duabelas, Jambi province. The forestwhich is the habitat of the tribe is shrinking. This is due to the illegal logging and palm oil agriculture expansion. Thetheme of the dance is about the struggle of forest people in their life. The symbolic, choreographic representation is dividedinto four acts; the fi rst act introduces the underdeveloped condition of the people; the second act shows the rituals practiced by the forest people; the third act shows how the forest people earn their living; and the fi nal act visualizes the forest destruction. The dance is performed by four dancers. The dance movement orientates on the daily behaviors of the forestpeople. The accompanying music is composed and edited digitally by applying nuendo software and inserting vocal element in the software. The stage decoration shows a forest setting which includes wooden property, hanging roots and leaves. The dancers’ costumes resemble the original clothes of Anak Dalam tribe along with some modifi cations, whereas the lighting arrangement is based on natural lighting nuance.Key words: anak dalam dance, bukit duabelas
Perkembangan Penyajian Jathilan di Daerah Istimewa Yogyakarta Kuswarsantyo -; Timbul Haryono; R.M Soedarsono
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 1 (2010): Juni 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i1.490

Abstract

The Horse Dance in Yogyakarta. Artikel ini membahas perjalanan sejarah kesenian Jathilan hingga memasukiera Globalisasi. Pasang surut kesenian Jathilan telah dialami dari waktu ke waktu, termasuk juga dalam aspekfungsi penyajian. Kini Jathilan dapat bebas disajikan tanpa terkait dengan upacara seremonial tertentu. Hadirnyaindustri pariwisata yang dicanangkan pemerintah tahun 1986, merupakan era baru yang disebut dengan Globalisasi.Program pariwisata memberikan dampak luar biasa bagi pengembangan sajian seni Jathilan. Interaksi sosial antarwilayah memberi kontribusi terhadap upaya pengemasan bentuk sajian Jathilan untuk konsumsi wisatawan.Pengaruh tersebut terjadi karena dua faktor, pertama faktor eksternal dan kedua faktor internal. Dua pengaruh iniyang memberi sinyal akan berkembangnya bentuk sajian Jathilan yang tidak lagi hanya dipentaskan untuk acaraseremonial tertentu. Penerapan konsep pseudo traditional art, dengan mengutamakan sajian kemasan yang singkatpadat, penuh variatif, telah dihilangkan unsur ritual, tiruan bentuk aslinya dan murah harganya.
Koreografi Jayarati dalam Kreasi Tari Kakebyaran Ni Kadek Rai Dewi Astini
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.v12i2.491

Abstract

Karya tari Jayarati merupakan satu bentuk koreografi kelompok yang menggunakan tujuh orang penari putri.Visualisasi tujuh orang penari putri yang secara kelompok menghadirkan perubahan dua karakter yang berbeda yaitukarakter Putri menjadi karakter Putra. Karya tari ini bersumber dari cerita Panji, penyamaran Galuh Candrakiranasebagai seorang laki-laki untuk mencari kekasihnya Raden Panji Inu Kertapati. Karya tari Jayarati hadir dari sebuahproses pengolahan prinsip-prinsip dasar keindahan gerak, teknik dan bentuk penggarapan kreasi tari kakebyaran.Garapan ini terdiri dari lima bagian pokok yaitu pangawit, pangawak, panyalit, pangecet, pakaed, yang diiringi olehgamelan gong kebyar, dan disajikan dalam durasi waktu relatif pendek.Kata kunci: kakebyaran, koreografi , jayaratiABSTRACTA Choreographic Analysis of “Jayarati” in Kakebyaran Dance. Jayarati dance is a group choreography of seven dancers. The dance visualizes the seven dancers in group presenting changes in two different characters - the female character changes into male character. The dance is adapted from the story of Panji - Galuh Candrakirana who undercovers as a young man looking for her fi ancé, Prince Panji Inu Kertapati. Jayarati dance has been created from the process ofdeveloping basic principles of beauty movements, techniques and styles of kakebyaran dance. The piece of creation consistsof fi ve main parts, namely pangawit, pangawak, panyalit, pangecet, and pakaed, which are accompanied by gong kebyargamelan instrument, and are performed in a relatively short duration of performance.Keywords: kebyar, Jayarati, balinese dance
Semiotika Tripartisi Concierto de Aranjuez Bagian I Allegro con Spirito Karya Joaquin Rodrigo Kustap -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 1 (2010): Juni 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i1.492

Abstract

Tripartition Semiotics of Concierto de Aranjuez. Tulisan ini membahas Concierto de Aranjuez Bagian I Allegrocon SpiritoKarya Joaquin Rodrigo. Metode diskriptiptif analisis digunakan untuk mengupas masalah ini. Berdasarkanpenelitian dapat disimpulkan bahwa makna musikal pada level poietic bagi Rodrigo adalah tidak mudah putus asa,ramai dan bersemangat seperti Allegro con spirito. Dalam level neural, sukat yang stabil bermakna tenang, tonikadimulai dari mayor dan diselesaikan dalam mayor bermakna suasana gembira. Dinamika yang dinamis bermaknasemangat dari yang sangat lembu, lembut, kuat, kerasa, hingga keras sekali.
Dhenggung Asmarandana dan Dhegung Banten: Sebuah Komparasi Teguh -
Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Vol 11, No 1 (2010): Juni 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v11i1.493

Abstract

The Comparation of Dhenggung Asmarandana and Dhegung Banten. Penelitian ini membahas perbandinganantara gending Dhenggung Asmaradana gaya Surakarta dengan gending Dhegung Banten gaya Yogyakarta.Berdasarkan penelitian dapat disimpulkan bahwa kedua gending memiliki persamaan dan perbedaan. Persamaankeduanya terletak pada laras, pathet, bentuk gendhing, struktur gendhing, serta balungan gending. Sedangkanperbedaannya hanya pada nama dan garap tabuhan bonang.
Laku Gunung Sagara: Perubahan Sosial dengan Pendekatan Koreografi Lingkungan Hendro Martono
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.v12i2.494

Abstract

Fenomena perubahan sosial telah terjadi di Dusun Suru Kumadang Tanjungsari Gunungkidul. Sejak sepuluh tahun terakhir banyak warga yang semula petani menjadi pedagang di sektor kelautan, dipelopori oleh kaum perempuan sebagai pekerja sampingan berubah menjadi pekerjaan pokok. Tujuan dari penulisan ini untuk mentransformasikan gejolak batin dengan perubahan sosial masyarakat Gunungkidul menjadi sebuah karya seni. Pendekatan koreografi lingkungan untuk membedah reportoar bumi langit, gayuh bumi dan segara gunung digunakan dalam karya ini. Berdasarkan analisis koreografi dan semiotike teater. Laku Gunung Segara adalah manifestasi Labuhan dalam ruang kehidupan keseharian masyarakat Suru. Sintesis selanjutnya, menurut pandangan orang desa, Ratu Kidul merupakan jelmaan Dewi Sri sehingga orang desa tidak takut lagi bekerja di kelautan. Kesimpulannyakoreografi - Lingkungan berhasil menerjemahkan dan mengembangkan konseptual secara tuntas. Temuan kultural,bahwa masyarakat desa yang mempunyai kesenian yang maju, memiliki persepsi pentingnya latihan dan mudah diajak kerjasama kreatif.Key words: laku, gunung- segara, koreografi -lingkunganABSTRACTLaku Gunung Sagara Dance. A social phenomenon has occurred in Suru Kumadang village, Tanjungsari Gunungkidul. For the past ten years, many villagers who were originally farmers have switched their professions into merchants in marine sector, pioneered by women who previously work as part-timers but now work as full-timers. The purpose aims at transforming the inner turmoil of Gunungkidul villagers’ social phenomenon into a work of art. The work of art uses environmental choreography approach to dissect the earth and sky repertoires, gayuh bumi and segara gunung. Based on the choreography analysis and theater semiotics, Laku Gunung Segara is the manifestation of Labuhan in the daily lives of villagers in Suru. Furthermore, in the view of the villagers, the South Queen is an incarnation of Goddess Sri so that the villagers are no longer afraid to work at sea. In conclusion, the environmental choreography has managed to interpret and develop the entire phenomenon. The cultural fi nding is that the villagers, who have advanced their arts, consider the importance of training and support active collaboration.Keywords: gunung- segara dance, environmental choreography

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