This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscr... more This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as “ Menunggu Godot (1991), “Kaspar†(1994-2003), and “ Merah Bolong Putih Doblong Hitam†(1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of “Kasparâ€. “The function of drama manuscript is not dominant anymore. The stage of show doesn’t give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body ex...
Abstrak Teater Payung Hitam mendapat perhatian dari khalayak teater melalui pertunjukan “Kaspar”,... more Abstrak Teater Payung Hitam mendapat perhatian dari khalayak teater melalui pertunjukan “Kaspar”, karya Peter Handke yang di gelar pada September 1994 di Gedung Kesenian Sunan Ambu, STSI Bandung. Minat tersebut ditandai oleh permintaan pertunjukan dari beberapa tempat, seperti Fes- tival Seni Surabaya, dan Festival Nasional Teater Bandung 1996, Art Summit III, di Jakarta, dan Festival Sunan Ambu, di Bandung 2001, serta Laookon Festival, Hamburg, Jerman. Selain itu, kelompok ini juga mendapat “Hibah Kelola” untuk pergelaran keliling ke beberapa tempat seperti Cirebon, Ciamis, Tasikmalaya, dan Bandung pada tahun 2001. Selain berhasil secara Artistik, pertunjukan “Kaspar” juga melahirkan seorang aktor yang diperankan oleh Tony Supartono, yang biasa dipanggil Tony Broer. Berkat permainan itu Tony mendapat kesempatan untuk bergabung dengan kelompok teater “Rin Ko Gun” Jepang selama tiga bulan, yakni pada tahun 2000.
This study aims to explain the history and process of inheriting mask puppet art in two represent... more This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned ...
Drama monolog "Si Badut", menceritakan tentang seorang pelukis yang mengalami peristiwa aneh, ia ... more Drama monolog "Si Badut", menceritakan tentang seorang pelukis yang mengalami peristiwa aneh, ia di hujat atau di protes oleh hasil lukisan-nya. Karena tidak bisa menahan diri, ia kalap, kemudian membakar lukisan itu. Akibatnya, rumahnya dan beberapa rumah tetangganya ikut terbakar. Ia di penjara. Peristiwa itu menjadikannya sulit untuk menentukan pilihan. Bahkan, ketika ia bebas pun, beban itu menjadi semakin berat. Pilihan akhirnya, membawanya ke sebuah gudang tua. Akibat getararan oleh langkah dan desah nafasnya, gudang itu pun runtuh. Ia mati setelah berhasil keluar dari gudang, dan terkapar di perempatan jalan.
Tulisan ini merupakan paparan riwayat perjalanan teater payung hitam dan rachman sabur antara tah... more Tulisan ini merupakan paparan riwayat perjalanan teater payung hitam dan rachman sabur antara tahun 1982-1998.
teknis artistik sandiwara cirebon merupakan bagian penting di dalam setiap pertunjukannya, ini te... more teknis artistik sandiwara cirebon merupakan bagian penting di dalam setiap pertunjukannya, ini tergambar melalui pertunjukan yang diadakan dalam acara "ngaruat bumi" di lapangan keraton "trusmi"
"DIALEKTIKA ANTARA REALITAS DAN IDELITAS"
TEATER PAYUNG HITAM BANDUNG
Kurnain
Sekolah Tinggi Seni... more "DIALEKTIKA ANTARA REALITAS DAN IDELITAS" TEATER PAYUNG HITAM BANDUNG Kurnain Sekolah Tinggi Seni Indonesia (STSI) Bandung Jalan Buah Batu No. 212 Bandung 40265
Abstract This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as "Menunggu Godot (1991), "Kaspar" (1994-2003), and "Merah Bolong Putih Doblong Hitam" (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of "Kaspar". "The function of drama manuscript is not dominant anymore. The stage of show doesn't give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification". The peak of rebellion which is done by the group of Payung Hitam Theater is laid on "Merah Bolong Putih Doblong Hitam",that is not any¬more using of main character manuscript as reference in working. Body and ex¬pression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is "Menunggu Godot", as a measuring tool. Keywords: Dialectic, Realistic, and Idealistic.
This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscr... more This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as “ Menunggu Godot (1991), “Kaspar†(1994-2003), and “ Merah Bolong Putih Doblong Hitam†(1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of “Kasparâ€. “The function of drama manuscript is not dominant anymore. The stage of show doesn’t give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body ex...
Abstrak Teater Payung Hitam mendapat perhatian dari khalayak teater melalui pertunjukan “Kaspar”,... more Abstrak Teater Payung Hitam mendapat perhatian dari khalayak teater melalui pertunjukan “Kaspar”, karya Peter Handke yang di gelar pada September 1994 di Gedung Kesenian Sunan Ambu, STSI Bandung. Minat tersebut ditandai oleh permintaan pertunjukan dari beberapa tempat, seperti Fes- tival Seni Surabaya, dan Festival Nasional Teater Bandung 1996, Art Summit III, di Jakarta, dan Festival Sunan Ambu, di Bandung 2001, serta Laookon Festival, Hamburg, Jerman. Selain itu, kelompok ini juga mendapat “Hibah Kelola” untuk pergelaran keliling ke beberapa tempat seperti Cirebon, Ciamis, Tasikmalaya, dan Bandung pada tahun 2001. Selain berhasil secara Artistik, pertunjukan “Kaspar” juga melahirkan seorang aktor yang diperankan oleh Tony Supartono, yang biasa dipanggil Tony Broer. Berkat permainan itu Tony mendapat kesempatan untuk bergabung dengan kelompok teater “Rin Ko Gun” Jepang selama tiga bulan, yakni pada tahun 2000.
This study aims to explain the history and process of inheriting mask puppet art in two represent... more This study aims to explain the history and process of inheriting mask puppet art in two representative hermitages (padepokan) (in Malang, namely Padepokan Asmoro Bangun in Pakisaji sub-district and Mangun Dharma in Tumpang sub-district). This research uses a qualitative approach. Data collection techniques are done through interviews, observation, and study documents. The process of inheritance includes art practices such as dancing, puppeteering, playing musical instruments, and making masks and transferring knowledge about Wayang Topeng Malangan. Inheritance is generally done since offsprings (children/grandchildren) are still at an early age. The history of the inheritance of the traditional mask puppet art in Padepokan Asmoro Bangun has occurred for six generations of this family since before 1930 starting from the Serun period. The sixth Padepokan Asmoro Bangun Heirs are two daughters named Winnie Padnecwara (15 years old) and Dita Andhika Raja Padmi (12 years old) who learned ...
Drama monolog "Si Badut", menceritakan tentang seorang pelukis yang mengalami peristiwa aneh, ia ... more Drama monolog "Si Badut", menceritakan tentang seorang pelukis yang mengalami peristiwa aneh, ia di hujat atau di protes oleh hasil lukisan-nya. Karena tidak bisa menahan diri, ia kalap, kemudian membakar lukisan itu. Akibatnya, rumahnya dan beberapa rumah tetangganya ikut terbakar. Ia di penjara. Peristiwa itu menjadikannya sulit untuk menentukan pilihan. Bahkan, ketika ia bebas pun, beban itu menjadi semakin berat. Pilihan akhirnya, membawanya ke sebuah gudang tua. Akibat getararan oleh langkah dan desah nafasnya, gudang itu pun runtuh. Ia mati setelah berhasil keluar dari gudang, dan terkapar di perempatan jalan.
Tulisan ini merupakan paparan riwayat perjalanan teater payung hitam dan rachman sabur antara tah... more Tulisan ini merupakan paparan riwayat perjalanan teater payung hitam dan rachman sabur antara tahun 1982-1998.
teknis artistik sandiwara cirebon merupakan bagian penting di dalam setiap pertunjukannya, ini te... more teknis artistik sandiwara cirebon merupakan bagian penting di dalam setiap pertunjukannya, ini tergambar melalui pertunjukan yang diadakan dalam acara "ngaruat bumi" di lapangan keraton "trusmi"
"DIALEKTIKA ANTARA REALITAS DAN IDELITAS"
TEATER PAYUNG HITAM BANDUNG
Kurnain
Sekolah Tinggi Seni... more "DIALEKTIKA ANTARA REALITAS DAN IDELITAS" TEATER PAYUNG HITAM BANDUNG Kurnain Sekolah Tinggi Seni Indonesia (STSI) Bandung Jalan Buah Batu No. 212 Bandung 40265
Abstract This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as "Menunggu Godot (1991), "Kaspar" (1994-2003), and "Merah Bolong Putih Doblong Hitam" (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of "Kaspar". "The function of drama manuscript is not dominant anymore. The stage of show doesn't give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification". The peak of rebellion which is done by the group of Payung Hitam Theater is laid on "Merah Bolong Putih Doblong Hitam",that is not any¬more using of main character manuscript as reference in working. Body and ex¬pression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is "Menunggu Godot", as a measuring tool. Keywords: Dialectic, Realistic, and Idealistic.
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Papers by Joko Kurnain
TEATER PAYUNG HITAM BANDUNG
Kurnain
Sekolah Tinggi Seni Indonesia (STSI) Bandung
Jalan Buah Batu No. 212 Bandung 40265
Abstract
This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as "Menunggu Godot (1991), "Kaspar" (1994-2003), and "Merah Bolong Putih Doblong Hitam" (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of "Kaspar". "The function of drama manuscript is not dominant anymore. The stage of show doesn't give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification". The peak of rebellion which is done by the group of Payung Hitam Theater is laid on "Merah Bolong Putih Doblong Hitam",that is not any¬more using of main character manuscript as reference in working. Body and ex¬pression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is "Menunggu Godot", as a measuring tool.
Keywords: Dialectic, Realistic, and Idealistic.
Drafts by Joko Kurnain
TEATER PAYUNG HITAM BANDUNG
Kurnain
Sekolah Tinggi Seni Indonesia (STSI) Bandung
Jalan Buah Batu No. 212 Bandung 40265
Abstract
This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as "Menunggu Godot (1991), "Kaspar" (1994-2003), and "Merah Bolong Putih Doblong Hitam" (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of "Kaspar". "The function of drama manuscript is not dominant anymore. The stage of show doesn't give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification". The peak of rebellion which is done by the group of Payung Hitam Theater is laid on "Merah Bolong Putih Doblong Hitam",that is not any¬more using of main character manuscript as reference in working. Body and ex¬pression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is "Menunggu Godot", as a measuring tool.
Keywords: Dialectic, Realistic, and Idealistic.