https://jurnal.isbi.ac.id/index.php/katarsis/issue/feed 2024-06-24T12:07:08+07:00 Ipit Saefidier Dimyati ipitdimyati@gmail.com Open Journal Systems <p align="justify"><span style="font-family: Cambria; font-size: large;"><strong>Kartasis: Jurnal Ilmiah Seni Teater </strong>merupakan jurnal ilmiah seni teater yang mengkaji teater dari berbagai sudut pandang ilmu. <strong><span style="font-family: Cambria; font-size: large;">Kartasis: Jurnal Il</span>miah Seni Teater</strong> memiliki tanggung jawab untuk mengembangkan seni teater, baik teater yang berawal teater nusantara maupun teater global.<br /></span></p> https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3432 2024-06-24T12:06:14+07:00 Benny Yohanes Timmerman fathul_anshori@isbi.ac.id

Abstract Expanding appreciation for (local) traditions is nothing new in modern theater in Indonesia. The golden age of modern theater in the TIM period, is often framed by the jargon "return to tradition". Putu Wijaya, one of the exponents of the TIM generation, called this enthusiasm the emergence of a "new tradition". The specific aim of this research is to produce a study of traditional continuity strategies in current theater performance phenomena. This study will mark a more focused exploration of theater semiotics, and how the strategy of aesthetic coexistence with traditional idioms is translated through the visual codes of performances. The research applies a combination of desk-study and archives-study methods. The desk-study is focused on the theoretical aspects of the study, which will be a conceptual perspective in looking at the phenomenon of continuity of tradition in forms of modern Indonesian theater performances. Archives-study includes analysis and evaluation of theater performances that took place during Pekan Nasional Teater (PTN 2018-2019). The 2018-2019 PTN event is considered to represent the spread of Indonesian modern theater creativity, because the selection procedure for the groups performing is based on a curation process that can be accounted for objectively and conceptually. The research results show several strategies used by a number of theater groups to open up dialectical space for the continuity of tradition, namely: rearticulation of tradition, respatialization of tradition, and delimitation of tradition. Keywords: Tradition, Continuation, Theater Creativity

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3433 2024-06-24T12:06:21+07:00 Zanuar Eko Rahayu fathul_anshori@isbi.ac.id

Abstract The purpose of this study is to find and describe the comedy and comedy techniques used in the Ubrug performance video with the story "Haliwu" performed by the Ubrug group Sentra Agata on the agenda of the Longser Festival in West Java and Banten in 2019. The research was conducted with a descriptive qualitative approach through content analysis based on Arthur Asa Berger's comedy technique consisting of language, identity, logic and action. Data collection techniques were carried out through video observation, as well as literature review. The data collected is then grouped according to the discussion to be analyzed. The results of the analysis show that the comedy presented conceptually and improvisation in the video documentation entitled Haliwu occurs due to the techniques used with the majority of language techniques in the dimension of puns word play is a technique that is often used and comedy improvisation occurs due to accidents which is a dimension in the logic technique. Keywords: Ubrug, Comedy, Arthur Asa Berger, Haliwu

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3434 2024-06-24T12:06:26+07:00 Dwi Setiani fathul_anshori@isbi.ac.id

ABSTRACT Art in a phenomenon's perspective is very closely related to profound problems in human life. It reflected on wayang garing as one of the traditional theatrical performances that was very close to the religious life of the banten community. Art is often associated with religious rites or rituals even if it is considered to be one of the things that god puts on the path (music). The writer was intrigued by the question of why the stuffed puppet was used asa medium at the space ceremony. What the meaning and function of the puppets seemed to be a form of self-consciousness in which they gradually lost sight of the art of the ritual that god was upon them.The research method used was qualitative, descriptive methods intended to get information on the original meaning and function of the Wayang Garing. This method will be done by data collection techniques through observation participating, in-depth interviews, and documentary studies. Data analysis done interactively through triangulation techniques. As a result of this study, after analyzingritual ruwat diri In the show wayang garing in story “Prabu Miranggana”. On wayang garing, Maca Syech is the symbol that shows that wayang garing Have islamic values that are meaningful as a reminder that performance of wayang garing on ritual ruwat diri It is an act of pleading for a blessing, avoiding a danger or a scourge and serving as a medium of middleman against his favor and gifts, 0which are based on the theories of Charles sanders peirce and William r bascom. Key words: wayang garing, meaning and function, maca shech, ruwat diri

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3435 2024-06-24T12:06:34+07:00 Muhamad Amrulloh fathul_anshori@isbi.ac.id

ABSTRACT The director is the center of all activities that occur in the process, the director must be able to organize and form all the elements into a unified whole. The creative process that has been carried out in the production of the play "Arwah-Arwah" by William Butler Yeats Translated by Suyatna Anirun through systematic work from pre-production to post-production. In the course of the process, it is not uncommon for the director to encounter problems that occur, both on stage and off stage, in this case the director must have the skills or strategies to solve them. The results of this paper are proof of the author's responsibility that the Arwah-Arwah performance is the original work of the author who acts as a director in the process of cultivating the play "Arwah-Arwah"

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3436 2024-06-24T12:06:38+07:00 Yani Maemunah fathul_anshori@isbi.ac.id

Abstract In this article, fundamental issues regarding actorhood are discussed. The questions that are the focus to be answered are internal and external factors; What must an actor understand and master? Are there any acting paradigms that seem different in concept and methodology? Lastly, is the actor someone who always liberates himself from the confines of his role in everyday life? These three questions will be answered using qualitative methods, through theoretical literature searches. There are several findings obtained from this research, namely: actors are the most important element in theater. Everything can be removed from a theatrical performance, except the actor element which cannot be lost. To become a good actor, there are two basic elements that an actor must master, namely internal elements and external elements. Internal elements are elements that exist within the actor, such as body, voice and soul; while external elements are elements that are outside the actor, such as the drama script, stage, playmates, director and so on. There are two paradigms in acting, namely the paradigm of being and the paradigm of playing. The becoming paradigm is a paradigm that assumes that when an actor plays a character, that actor must "become" the character he plays. Meanwhile, in the playing paradigm, acting does not need to be, but the actor must distance himself from the character he plays. Philosophically, actors can be seen as humans who always rebel against the roles they play in everyday life. He doesn't want to be framed in the same role box. Actors always want to be anything, even though it is actually in vain, because every human being cannot avoid the role categories that have been assigned socially by society. Keywords: Actor, external factors, internal factors, body, "being" paradigm, "playing" paradigm.

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3437 2024-06-24T12:06:44+07:00 Ira Amalia fathul_anshori@isbi.ac.id Jaeni Anshori Jaeni Jaeni@isbi.ac.id

ABSTRACT The art of the Depok lion or gotong lion is one of the performing arts in West Java. The birth of the Depok lion art was through the people of Subang. Previously, the Depok lion was a form of satire against the Dutch and the British during the colonial period, but now its function has changed. In terms of manufacturing, the Depok lion is carved and then shaped like a wild animal using wood and carried on the shoulders of the dancers. This study used a qualitative descriptive analysis method from the book Qualitative Research Methods by Dr. H. Zuchri Abdussamad, S.IK., M.Sc. to explain things related to the subject matter that the author thinks about. The type of research used is Document Study. The procedure for obtaining qualitative research data was obtained from several journal excerpts, published data on the arts of Singa Depok. Data collection techniques are carried out by collecting data that has been published. The purpose of the researchers to research Singa Depok is that 1) Singa Depok art in Subang, West Java, is maintained and continues to increase the creativity of the community, 2) Making people aware of Singa Depok art, which is a cultural icon in Subang, must be taught so that there will continue to be generations, especially to young people, 3) So that the people of Subang preserve traditional arts and continue to experience development. Key words: lion depok, origin, manufacture

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3438 2024-06-24T12:06:51+07:00 Rani Suhartini fathul_anshori@isbi.ac.id Jaeni Jaeni Jaeni@isbi.ac.id Monita Prescillia monita.prescillia@isbi.ac.id

ABSTACK Karinding instrument has beauty and many uniqueness, karinding art is used by farmers to repel pests in the fields because of its decibe sound, karinding is not just a musical instrument but as a guide for managing nature and life for the community. Then make Karinding musical instrument as a popular art in the city of Bandung. Karinding is preserved by the people of West Java and Banten, in 2008 the preservation of karinding experienced an intersection between karinding musical instruments and the metal community in Bandung. Karinding is only an instrument but now it has various functions as personal entertainment and through the preservation of karinding through the bamboo music community in the city of Bandung. In the process of this research using quantitative methods that support the application of Karinding musical instruments in West Java, especially in the city of Bandung by collaborating Karinding musical instruments with modern songs. Another objective is to find out the response of the people in Bandung to the karinding art that is reportedly extinct and to create new creations for the karinding art in the city of Bandung. Keywords: Karinding, Bandung City, preserva

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3439 2024-06-24T12:06:57+07:00 Mohammad Hadi Pratama Nugraha fathul_anshori@isbi.ac.id Jaeni Jaeni Jaeni@isbi.ac.id

ABSTRACT The purpose of writing this article is to provide education and understanding to the public, Moreover, parents of children are often found who emphasize their own will without care about children's potential, parents are more concerned with mathematics than art. Considering the performing arts of theater at the level of early childhood education often considered only as something that is not too important and is considered as a hobby dealer. In fact, basically art can improve cognitive abilities to train focus, skills, remembering, problem solving, learning process, decision making, and thinking. In the process of this research, the researcher uses qualitative methods that are supported by developing ideas from integrating previous literatures and making observations. Until Finally, the results of this writing can show that by studying theater arts, children can effectively develop their cognitive abilities. In this study, the author starts with theater arts because theater art is the mother of art in which there are various other artistic elements such as elements of music, painting, and motion, which are combined into an art show. That is the reason why theatrical arts are categorized as the mother of art. Keywords: theater arts, children, cognitive, performing arts

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3440 2024-06-24T12:07:03+07:00 Fathul Anshori Husein fathul_anshori@isbi.ac.id

ABSTRACT This article aims to reveal Konstantin Stanislavski as an example of an 'avant-garde' theater director, more than any other director, who gives actors the freedom to engage in 'creative practices of self-development'. He ‘institutionalized’ the actor at the center of the meaningful stage and began the first stage of his theater study process. Stanislavski's guidance as a director gave the actor's self-performance the opportunity to bridge the gap between himself and the character in a role. Actors can define their own concepts and meanings through their roles to some extent with the director's concepts and, thus, can turn acting into a 'creative act'. Stanislavski was the 'originator' who began the process of realizing the ideal of wholeness in acting and directing. He developed a theatrical framework by proclaiming the necessity that the main creative artist and authority for 'mise en scene' (theatrical staging strategy) is the director. Stanislavski systematically pursued the possibility of developing his and his actors' 'selfconcept' and/or 'personal style', both directing and acting through 'mise en scene' at the conceptual level. And in doing so, Stanislavski was developing the first stage of a process, namely 'conception'. Keywords: Avant-garde, Theatre Director, Self-Concept, Aesthetic Actor, ‘Mise en Scene’

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater https://jurnal.isbi.ac.id/index.php/katarsis/article/view/3441 2024-06-24T12:07:08+07:00 Cerly Chairani Lubis cerly.chairani@gmail.com

ABSTRACT This article will explore certain parts of the development of Konstantin Stanislavski's (Russian) acting teachings 'The System', along with its basic elements, as the protoplasm of the birth and growth of various other acting techniques and methods, as well as their impact on Lee Strasberg's 'The Method' acting method developing in America. Intended as nothing more than knowledge and training guidance for acting students (the art of acting). Apart from that, as a useful guide when it is not easy to understand and imagine the series of acting training processes and the character (character/role) creation process. Furthermore, this article wants to conduct a small comparative study between Stanislavski's 'The System' acting teachings and the development method carried out by one of his students and successors, in America, namely Lee Strasberg's 'The Method'. Also to see and understand the similarities or strengths between the two, apart from certain practice points that make the two feel different. Then how can acting students see, understand and imagine these differences as a gift of breadth or even ease to enter the realm of practice 'in nature' of these methods with more brilliant and effective achievements. Keywords: The System, The Method, Actor’s Work, Character’s Work

2024-06-24T00:00:00+07:00 Hak Cipta (c) 2024 Katarsis: Jurnal Ilmiah Seni Teater