Kerja Etnografi dan Imajinasi Sebagai Metode Penciptaan Teater Biografi Garam

Moh Wail, Yanti Heriyawati, Rahman Saleh

Abstract


Each of art creators has their own tendencies in producing their works. The choices of form and process are significantly influenced by their cultural and aesthetical experience. The objective is to obtain the originality of the ideas and to offer novelty among the development in the field of theatre todays. This writing is aimed to reveal the creative process of the producing of a theatre work entitled Biografi Garam (The Biography of Salt). Methodologically, this is a qualitative study to describe the method or the creative process.  Ethnography and Estetika Paradoks are adopted to gain the structure of thoughts influencing the alternatives in constructing the performance aesthetic. The form of body theatre is chosen to obtain the natural structure of Madurese body as well as to release the identity to perform a free body. The creative process conducted through tubuh mengenal (the body knowing) and tubuh mengalami (the body experiencing) gives methodological experience on how the acts processed through natural body and situation becomes a theatre artwork. The background of Madurese people with all of the natural characteristics constructs the actor body so that a cultural body can be created on the stage. Ethnography and imagination process are the methods interrogating the body to become a theatre body performing Madura aesthetically to the stage. The form of a stage body is the construction result between the cultural Madura and the body execution in manifesting the ideas and imagination into an artwork that can be appreciated by the audience.  


Keywords


Theatre; Salt Biography; Ethnography; Imagination.

Full Text:

PDF

References


Ahmad, M.R. (2007). Manusia Madura. Yogyakarta: Pilar Media

Toer, P.A. (2002). Bumi Manusia. Yogyakarta: Hasta Mitra.

Artaud, A. (1938). The Theatre and Its Double. Terjemahan MaxArifin. 2009. Teater dan Kembaranya. Surabaya: Dewan Kesenian Jawa Timur.

Dwi, S.A., & Nugraha, W.A. (2016). Permasalahan dan Potensi Pesisir di Kabupaten Sampang. Jurnal Kelautan. 9 (1). DOI: https://doi.org/10.21107/jk.v9i1

Frager, R. (1999). Heart, Self, & Soul: The Sufi Psychology of Growth, Balance and Harmony. Diterjemahkan oleh Hasmiyah Rauf. 2005. Hati, Diri, dan Jiwa: Psikologi Sufi untuk Transformasi. Jakarta: PT ilmu semesta Anggota IKAPI.

Gatt, C., (2020). Breathing beyond Embodiment: Exploring Emergence, Grieving and Song in Laboratory Theatre. Journal Body & Society 26(2) 106–129. DOI: 10.1177/1357034X19900538 journals.sagepub.com/home/bod

Heriyawati, Y. (2012). Relasi Kuasa dalam Praktik Sukur Bumi. Jurnal Kawistara. 2 (2), 105-224. DOI: https://doi.org/10.22146/kawistara.3973

Hidayatullah, P. (2017). Ghending Dangdut: Artikulasi Budaya Masyarakat Madura dalam Seni Tabbhuwan. Resital: Jurnal Seni Pertunjukan, 18(3), 113–132. https://doi.org/10.24821/resital.v18i3.2244

Iswantara, N., Soebakdi, C.S., Haryono, T., Simatupang, L. (2012). Proses Kreatif Teater Garasi Yogyakarta dalam Lakon Waktu Batu. Resital. 13 (2), 95-108. DOI: https://doi.org/10.24821/resital.v13i2

Koentjaraningrat. (1989). Metode Penelitian Masyarakat. Jakarta: Gramedia.

Nalan, S.A. (2019). Pertunjukan Musik Teatrikal “IBU” Produksi Teater Koma. Resital: Jurnal Seni Pertunjukan, 18(1), 13–26. https://doi.org/10.24821/resital.v18i1.2443

Oida, Y., dan Masrhal, L. (2012). Invisible Actor. Terjemahan Arief Mardiono. 2012. Ruang Tubuh Aktor. Surabaya: Dewan Kesenian Jawa Timur.

Rawa, M. E.A. (2015). Etik Dan Emik Pada Karya Etnografi. Jakarta: PADI Institute. rawa@lycos.com, www.mrawaelamady.com

Saleh, R. (2017). Tubuhku Ingin Menjelma Padi Yang Merunduk. Tesis, Surakarta: Institut Seni Indonesia.

Saputra, A.T., & Murtana, I.N. (2019). Peristiwa Teater Tu(M)Buh Sebagai Konstruksi Politik Tubuh. Panggung, 29(2). https://doi.org/10.26742/panggung.v29i2.904

Semedi, P. (2020). Sakpada-pada: Jalan Tengah Kesetaraan di Pedesaan Jawa, 1850-2010. Jurnal Kawistara. 10 (1), 1-16. DOI: https://doi.org/10.22146/kawistara.52182

Stanislavsky, K. (1924). My Life in Art, Terjemahan Max Arifin. 2008. My Life in Art, Bekasi Selatan: Pustaka Kayuringin.

Stanislavsky, K. (1984). Building A Character, Terjemahan B. Verry Handayani, Dina Octaviani, Tri Wahyuni. 2008. Membangun Tokoh. Yogyakarta: KPG (Kepustakaan Populer Gramedia).

Sumardjo, J. (2010). Estetika Paradoks. Bandung: Sunan Ambu Press.

Supartono, T. (2017). Penciptaan Teater Tubuh. Panggung, 26(2), 208–221. https://doi.org/10.26742/panggung.v26i2.177

Supartono, T. (2019). Tubuhkatatubuh: Seni Pertunjukan Tubuh di Jalanan dan Panggung. Disertasi, Yogyakarta: Program S3 Penciptaan Teater Pascasarjana Institut Seni Indonesia

Suryajaya, M. (2016). Sejarah Estetika, Jakarta: Indie Book Corner.

Syamsiar. (2014). Kontemplasi Diri dalam Lukisan. Journal Brikolase. 6 (1). 97-118

Synnott, A. (1993). The Body Social: Symbolism, Self and Society. Diterjemahkan oleh Pipit Maizier. 2007. Tubuh Sosial: Simbolisme, Diri, dan Masyarakat. Yogyakarta: Jalasutra.




DOI: https://doi.org/10.24114/gondang.v5i1.22547

Article Metrics

Abstract view : 112 times
PDF - 97 times

Refbacks

  • There are currently no refbacks.


Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.