bahan matrikulasi kritik seni 2012-1997-2004
TRANSCRIPT
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MATRIKULASI KRITIK SENI
F. X. Widaryanto, SST., MA
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LATAR BELAKANGPENDIDIKAN DASAR DAN MENENGAH
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LATAR BELAKANGPENDIDIKAN TINGGI
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PENGAJAR TAMUUNIVERSITY OF WISCONSIN DAN UNIVERSITY OF MICHIGAN
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Sal Murgiyanto Dance TroupTAIWAN
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MAKNA DI BALIK VISUAL
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KHOMA RAMARI-MARIWAYANG KAMPUNG SEBELAH – KI JLITHENG
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WATERBOWL REHEARSALADA OSSOLA
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APPARATIONKlaus Obermaier & Ars Electronica Futurelab
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INSTALASI DIGITAL ARTSONIA FALCONE
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SPIN 2010HUANG YI & LOGICO-STUDIO
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METAEKOLGISARDONO W. KUSUMO
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Kedudukan dan Peran dalam Budaya
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STATUS KRITIKUS SENI
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TUGAS, KEWAJIBAN, DAN PERAN KRITIKUS
MENURUT NORTHROP FRYE
• Sebagai perintis pendidikan dan pembentuk tradisi budaya suatu masyarakat.
• Peran kritikus yang utama adalah sebagai pendidik masyarakat dan ikut mencoba memberikan rumusan bentuk budaya masyarakatnya.
Sebab, kata Frye, seni itu ‘bisu’ dan kritik yang
berbicara.
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KRITIKUS SENI BERBICARA
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KRITIKUS SENI
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WUJUD MASYARAKAT SENI INDONESIA
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SENIMAN INDONESIA
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PUBLIK SENI DI INDONESIA
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POLA UMUM MASYARAKAT INDONESIA
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MASYARAKAT SENI MENURUT ARNOLD HAUSSER
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MASYARAKAT BUDAYA ELITMENURUT EDUARD KIMMAN (1970)
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KETIDAKJELASAN
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TUNTUTAN PERSYARATAN
KRITIKUS SENI
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PERSYARATAN KRITIKUS
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Seniman (pelaku maupun pencipta)
Penikmat atau pemirsa
Kritikus Seni
Pengelola atau
penyelenggara pertunjukan
Empat PilarSeni Pertunjukan
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REGENERASI?
PENDIDIK PENELITI SENI
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PENGLIHATANNYAYANG LEBIH TELITI
DANTERLATIH
PIKIRAN YANG CERDASDAN PERASAAN
YANG PEKA
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SENI SEBAGAI HIBURAN
PENYAMPAIANNILAI HIDUP
BAGIAN PENTING UPACARA AGAMA
ALAT PROPAGANDA
PENGUASA
UNGKAPAN KREATIF
INDIVIDUALSENIMANNYA
PERSPEKTIFMASYARAKAT
SARANA KOMUNIKASI
DENGAN TUHAN
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Swanlake Akrobat
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Nilai Waktu
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Ritual Penyembuhan
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Rejang Dewa
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Propaganda Mobil
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Rain Coloring Forest
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KEBANYAKANDESA
SARANAUPACARA
EKSPRESIESTETIK INDIVIDULANGKA
KOTA BESARHIBURAN
KONDISI DIINDONESIA
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SAL MURGIYANTO
TUGAS KRITIKUS TARI
LEBIH SEBAGAI PENDIDIK YANG MEMBERIKAN
INFORMASI YANG BERGUNABAGI SENIMAN MAUPUN
PUBLIK
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MALBORG KIM
TUGAS KRITIKUS TARI
DAPAT MEMBERIKANPENCERAHAN KEPADA SE-
BANYAK-BANYAKNYA ORANGDAN DALAM BAHASA YANG PALING MUDAH DIMENGERTI
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DARYL RIES
TUGAS KRITIKUS TARI
MENERANGI PEMAHAMAN PENONTONDAN INTENSI SENIMAN SERTA BUKANMERUPAKAN AJANG MEMAMERKAN
PENGETAHUAN SENI PENULISDENGAN JARGON-JARGON DAN
TERMINOLOGI YANG SULIT
MENUNJUKKAN KEUNIKAN/KELEMAHANPERTUNJUKAN BAGI SENIMAN PELAKU
ATAU SENIMAN PENCIPTA
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PAKAR FILSAFAT
JOSEPH MARGOLISH
TUGAS KRITIKUS TARI
KRITIKUS PADA DASARNYA ADALAH GURU.KOMENTAR MEREKA TERHADAP KARYA SENI
MEMILIKI DAYA UNTUK MEMPENGARUHI,MEMBERI INSTRUKSI, MENARIK PERHATIAN,MEMBERI INDIKASI, MEMBERI SARAN KUAT,
MENGINGATKAN, MENGOREKSI, DAN RIBUAN FUNGSI
SEJENIS LAINNYA
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TECHNOS:
TEKNIK LOGOS:
I. PENGETAHUAN
BEKAL SEORANGKRITIKUS
PATHOS:
KEPEKAAN RASA
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TEKNIK
TEKNIK MENGAMATI PERTUNJUKAN
DAN MENULISKAN HASIL PENGAMATAN UNTUK
PUBLIKASI
TEKNIKMENGKOMUNIKASIKAN PIKIRAN,PENGALAMAN, INTERPRETASI,
DAN PANTAUAN ESTETIKDALAM TULISAN
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PENGETAHUANASAL-USUL ATAU
SEJARAH PERKEMBANGAN TARI
GAYAGENRE
REPERTOAR DAN TEMA CERITASTRUKTUR KOREOGRAFI
LATAR BUDAYA, SOSIAL, DAN AGAMAPENGETAHUAN TENTANG TOKOH
TARI, PENATA TARI, YANG BERKAITAN DENGAN
GENRE, WILAYAHDAN NEGARANYA
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LOGIKA
SIKAP KRITIS DAN BERPIKIRAN LOGIS
INFORMASI TIDAK DITERIMAAPA ADANYA
TAK HARUS PATUH TANPAMEMPERTANYAKAN
MEMBANGUN ARGUMENTASI DAN ALASAN LOGISATAS SARAN DAN
PENILAIAN ESTETIS
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KEPEKAAN RASA
MENYENTUH RASA BARUATAU MENAMPILKAN
KEUNGGULAN TEKNIK ATAUKEBAGUSAN WUJUD LAHIR
Ketiga bekal dasar ini, technos, logos, dan pathos, harusdikembangkan sebagai bagian dari kepekaan naluri seorang
kritikus