Dramaturgi

'Skenografi' adalah term baru dalam diskursus teater di Indonesia. Pada saat yang bersamaan term 'Skenografi' digunakan pula dalam berbagai diskursus senirupa, seni tari, bahkan film. Sinyalemen ini menunjukan bahwa Skenografi merupakan multidisipliner baru. Dalam salah satu perspektif, 'skenografi' tidak saja merupakan rancangan visual-lingkungan teater, tetapi merupakan juga refleksi dari pertautan gagasan antar elemen teater, yaitu ; awak panggung, elemen-elemen pertunjukan, dan penonton. Bahkan, lebih jauh, skenografi berhubungan erat dengan penelitian sosiologis-antropologis budaya. Padahal, ranah demikian biasanya merupakan wilayah kerja seorang dramaturg. Pemeriksaan ini ditujukan untuk melihat daerah perhimpitan kedua disiplin tersebut, yang dalam tulisan ini disebut sebagai 'Material Dramaturgis', yaitu: elemenelemen visual yang dipilih dengan kesadaran tentang hubungan antara pelaku teater, pertunjukan dan penonton.

Во македонската книжевна критика и воопшто во современата македонска книжевност значајно место зазема Венко Андоновски – писател, поет, есеист, драмски автор, публицист и универзитетски професор. Овој труд претставува осврт кон книжевно-критичката и книжевно-теориската мисла што Андоновски ја презентира во книгата „Дешифрирања (литературни студии)“. Прво се презентираат општи податоци за творештвото на Андоновски, а потоа се елаборираат суштинските специфики на текстовите што се дел од оваа книга. Во заклучокот од овој труд се нагласува дека во книгата „Дешифрирања (литературни студии)“ се елаборираат суштински прашања од повеќе спознајни дисциплини како што се книжевната теорија со нејзините базни поддисциплини (наратологија, драматургија, теорија на поезијата), книжевната историја, книжевната критика, семиологијата и филозофијата.

Bernard-Marie Koltès, çağdaş bir klasik olarak kabul edilen yapıtlarıyla dünyada oyunları en çok sahnelenen ve oyunları birçok dile çevrilen Fransız tiyatro yazarlarındandır.
Bernard Marie Koltes, sanat yaşamına çok genç başladı ve Avrupa'da ünlü yönetmenler tarafından sahnelenen birçok oyun yazdı.

Oyunlarından biri olan "Ormanlardan Hemen Önceki Gece" nin dramaturgi raporu.

This definition of dramaturgy as a comprehensive theory of dramatic structure is
the cornerstone of modern dramaturgical practice. This is also how the concept of
dramaturgy is viewed in popular culture. In the February 2013 episode of the hit TV
series Smash, titled “The Dramaturg,” a dramaturg is referred to as “the book
doctor.” His job is to fix the structural errors afflicting the script of the new musical.
This particular example of the pop culture use of the word “dramaturg” reflects a
broader understanding of the concept of dramaturgy to mean any purposeful
arrangement of events, as in the dramaturgy of one’s life, war, or political campaign.

The relationship between math and music has long been known and analyzed. We
know that a well-structured musical composition is like a well-structured mathematical
formula. The mathematician and violinist James Stewart argues that mathematics,
like music, is concerned with structure, “the way mathematical objects fit together and
relate to each other.”1 The same can be said of art: from classical realist paintings and
sculptures to the most abstract works of Picasso, Kandinsky, Malevich, Mondrian,
and Pollack, each composition follows a carefully arranged structural order with
colors, shapes, patterns, and empty space consciously complementing, supplementing, and juxtaposing one another. But what about drama and theatre? The idea that theatre is guided by the same rules of mathematics appears both absurd and absolutely logical. If all other art forms work according to the same rules, why shouldn’t theatre? Indeed, although the relationship between math and dramatic structure has never been explicitly explored, math has always been implicitly present in the development of Western drama and dramatic theory. In 1863, the German novelist and playwright Gustav Freytag published Die Technik des Dramas (Technique of the drama), in which he outlined a geometric pattern of dramatic structure in classic Greek tragedy.

Teaching through distance mode in general, teaching Sanskrit in particular pose a challenge always for distance education institutions. The distance mode of teaching Sanskrit Shastras and Literature is difficult because it involves a rapid course of questions, answers with a concluding statements named as purvapaksha, uttarapaksha and sidhhantapaksha based on long prevailing tradition of Guru Shishya Parampara.
Distance Education has emerged as the most viable system of learning in most of the countries. It has been gaining much popularity in India by providing access to higher education through distance mode. India, being one of the developing countries pioneered with more than 10 open universities, most of which provide Sanskrit education as a subject adopting all the available technologies to reach their learners who are at distance.

Georgetown Üniversitesi Hukuk Fakültesi’nde, Hukuk ve Felsefe Profesörü David Luban'ın Ariel Dorfman'ın başyapıtı "Ölüm ve Kız"ı incelediği bu makalesi, Amerikan Felsefe Derneği Kongresinin (Atlanta, Aralık 1996) "Adalet, Genel Af ve Hakikati Söyleme: Geçiş Toplumları İçin Seçenekler" başlıklı panelinde sunulmak üzere hazırlanmış ve Doç.Tufan Karabulut tarafından Türkçeye çevrilmiştir.

Stasiun televisi lokal memiliki unsur kedekatan (proximity) secara emosional dengan masyarakat daerahya. Termasuk peran presenter mengenai bagaimana menyajikan informasi yang mempunyai muatan positif bagi khalayak. Penelitian dilakukan terhadap sosok Mbah Karso yang merupakan host atau presenter di stasiun televisi lokal KSTV Kediri pengelolaan kesan yang unik dibandingkan dengan presenter pada umumnya, dari segi penampilan berupa gaya siaran yang atraktif dan juga bahasa yang digunakan. Mbah Karso juga pernah mendapatkan penghargaan sebagai juara 2 kategori talkshow dalam acara KPID award pada tahun 2010 KPID Jawa Timur. Berdasarkan latar belakang pemikiran tersebut maka masalah yang ingin di teliti pada penelitian ini adalah bagaimana pengelolaan kesan Mbah Karso sebagai presenter di KSTV Kediri. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana pengelolaan kesan panggung depan (front stage) dan panggung belakang (back stage) Mbah Karso sebagai presenter di KSTV Kediri. Penelitian ini menggunakan landasan teori dramaturgi, konsep diri, mau'idza hasanah, dan analisis interaktif Miles dan Huberman sebagai analisis data. Menggunakan metode kualitatif deskriptif berdasarkan pendekatan dramaturgi Erving Goffman. Sumber data utama adalah data yang diperoleh dari wawancara dengan Fadholi pemeran karaktrer Mbah Karso di KSTV Kediri. Dari penelitian ini diperoleh hasil penelitian sebagai berikut: 1) Dalam konteks front stage dipahami sebagai panggung yang hanya menampilkan tokoh Mbah Karso yang meliputi simbol-simbol seperti cara berpakaian, gaya bahasa, sikap dan perilaku serta materi dakwah. Peran front stage Mbah Karso dibantu oleh kerjasama tim KSTV baik dari segi dekorasi maupun materi. Mengunakan campuran Bahasa Jawa yang merupakan bahasa khalayak sehari-hari dan juga muatan dakwah dari konteks pesan yang disampaikan. Hal tersebut dilakukan agar khalayak dapat menerima kesan yang sengaja dibentuk untuk penyampaian pesan yang efektif, sehingga karakter Mbah Karso bisa diterima oleh khalayak. 2) Sementara back stage personal Mbah Karso dalam kehidupan sehari-harinya cara bertutur kata atau penggunaan gaya bahasa lebih sopan dan tidak banyak bicara, yang berbeda pada saat sedang berada di panggung. Selain itu, back stage Mbah Karso meliputi latihan pendalaman karakter ketika akan memainkan peran, dan juga beberapa faktor pendukung yang didapatkan dari memperdalam referensi materi, pengalaman pribadi dan situasi yang sering dihadapi.

From the librettist’s perspective, the traditional working methods which tend to dominate in the creation of new music drama, often result in a situation where the initial intentions are lost along the way. How can we get away from a rigid methodology, where the different professionals involved in the creation of new music drama have to succumb to a procedure which can be likened to a whispering game? A procedure, where the dramatic content, rather than undergoing an emotional enrichment in its transformation into music, often loses the crucial connections to the initial intentions. This doctoral project aims to reach beyond the whispering game by seeking alternative working methods in the creation of a new music drama with the working title "Borderlands", circling around the subject matter of flight and borders - inner as well as outer. The research identified cross–border methods which, borrowing from the terminology of Martin Buber, can be seen as an attempt to countera...