PROSES KREATIF SUTRADARA RACHMAN SABUR DARI TEATER PAYUNG HITAM BANDUNG

Abstrak: Rachman Sabur adalah salah seorang sutradara teater dari kelompok Teater Payung Hitam Bandung. Sejak kecil ia sudah mulai suka menonton berbagai pertunjukan seperti sandiwara sunda, tari, wayang dan reog. Proses kreatif Rachman Sabur menyutradarai drama verbal dan teater non verbal mendapat pujian dari berbagai tokoh teater dan mempunyai banyak penonton. Penelitian ini menggunakan pendekatan proses kreatif Graham Wallas yang dikemukakan oleh Irma Damayanti dalam buku Psikologi Seni (2006) yang meliputi Preparation (persiapan), Incubation (pengeraman), Ilumination (ilham, inspirasi), verification (pembuktian atau pengujian). Metode yang digunakan adalah deskritif analisis, dengan teknik pengumpulan data melalui wawancara dengan Rachman Sabur, para pemeran, para pendukung dan pengamat teater dari Bandung. Selain itu juga data diambil dari berbagai ulasan tentang karya-karya penyutradaraannya, ulasan dari surat kabar dan Website dari para pengulas pertunjukan teater yang terpercaya. Dari pendekatan dan metode tersebut akan terurai proses kreatif Rachman Sabur dalam melahirkan karya-karyanya. Kata kunci: Proses Kreatif, Rachman Sabur, Teater Payung Hitam, Graham Wallas Abstract: Rachman Sabur is one of the theater directors of the Bandung Black Payung Theater group. Since childhood, he has started to like watching various performances such as Sundanese plays, dance, wayang and reog. Sabur's creative process in directing verbal dramas and non-verbal theaters has received praise from various theater figures and has a large audience. This study uses the creative process approach of Graham Wallas proposed by Irma Damayanti in the book Psychology of Art (2006) which includes Preparation (preparation), Incubation (incubation), Illumination (inspiration, inspiration), verification (proof or testing). The method used is descriptive analysis, with data collection techniques through interviews with Rachman Sabur, actors, supporters and theater observers from Bandung. In addition, data is also taken from various reviews of his directing works, reviews from newspapers and websites from trusted reviewers of theater performances. From these approaches and methods, Sabur's creative process in producing his works will be unravelled. Keywords: Creative Process, Rachman Sabur, Payung Hitam Theatre, Graham Wallas

Vygotsky’s Tragedy: Hamlet and the Psychology of Art

Lev S. Vygotsky is one of the major figures of psychology; however, his deep engagement with the arts is less known. This is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second, that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art, which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part 2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.

Sequence of discussion on the “Psychology of Art” by L. S. Vygotsky (analysis and Interpretation of literary works)

  This article reviews the polemic of the author with a number of well-known psychologists who consider L. S. Vygotsky a humanities scholar, and that the book “Psychology of Art” introduces psychologists to the humanities. The author clarifies his position, trying to show that in his methodological projects L. S. Vygotsky adheres to the natural scientific approach; however, in some works he actually does think as a humanist. The author also casts doubt on Vygotsky's concept of art, demonstrating that the offered mechanisms of aesthetic response and interpretation of literary works are problematic or unsatisfactory. In this regard, analysis is conducted on the position of V. Sobkin, which differs significantly from the views of L. S. Vygotsky. The author offers the original interpretation of art, which implies the three aspect: sociocultural that analyzes artistic communication; related to the philosophy of subjectivity (life from the perspective of an artist, viewer, or reader); and analysis of artistic reality, which includes consideration of the literary language and events. The author elucidates the corresponding concepts and problems that appear in such art task. For better understanding of the proposed ideas, the author reviews the examples from the “Psychology of Art” by L. S. Vygotsky, and cites a case from the own works. The discrepancy with L. S. Vygotsky he views as an motive to continue his research and the need for their critical reflection.  

Figuratively Semantic Analysis of Works of Art

Topicality of the study is related to the in-depth study of the art of works of Van Gogh, Velázquez and Repin by relating art to the biography of these authors. The aim of the study is to explore the symbolism and the biography of the painters using the examples of analysis from the works of Van Gogh, Velasquez, and Repin and also to determine the conditions that contribute to the awareness of the process of perception and understanding of paintings. The methodology of this study is figuratively symbolic method used with the purpose to compare the plots of the art and to relate them to the life experience of their creators. Results obtained and the most important conclusions: This is important for the author of a painting to convey his/her thoughts and feelings to the viewer. Still, there remains a problem. The author uses the language of the image and symbol, which the viewer needs to reveal. Psychology of art offers two main options for solving this problem. The essence of the first option which is the ability of the painter to direct the viewer's sight. It is called the Dutch approach. The second approach to the analyses of art is called the Italian approach. In this case this is important to understand the symbolism and knowledge gained historically by relating one’s art works to the biography of the painter. The authors of this article focus on the second approach by illustrating it with examples of analysis from the works of Van Gogh, Velázquez, and Repin. The results of this study might be of interest for those who are interested in arts and psychology.

The dialogical and political nature of emotions: A reading of Vygotsky’s The Psychology of Art

A significant number of articles published in Theory & Psychology have been inspired by, or discuss, Vygotsky’s contribution to psychology. However, most of the available publications and discussions on Vygotsky overlook his theory of art and emotions and, more broadly, his view on subjectivity. In this article we offer a reading of Vygotsky’s The Psychology of Art. According to our interpretation, art is conceived in this theory as a social technique for (re)constructing life and transforming bodies; human emotions are dialogical processes, culturally and semiotically created, and historically transformed. Our theoretical perspective differs from some other interpretations of Vygotsky’s work because of its emphasis on the centrality of emotions in psychological life, and particularly on the intertwining of sociogenesis and microgenesis. Through emotions, discourse practices and cultural techniques have transformative effects on bodily reorganization ( catharsis) and subjective experience ( perezhivanie). This is discussed in relation to the political implications of a theory of emotions and its relevance for the theorization of subjectivity.

Who Hates Magic? Exploring the Loathing of Legerdemain

Magic is an ancient, universal, diverse, and wide-ranging domain of artistic performance. Despite its worldwide popularity, however, any working magician will tell you that some people really hate magic. They seem to see every illusion as a challenge to be solved and every performance as an insult to their intelligence. A distinctive feature of magic is that it seeks to create wonder and amazement through deception—practitioners create the illusion of the impossible, which can provoke intense curiosity, but will not explain the method—so we speculate that disliking magic could stem from (1) low propensity for curiosity, awe, and wonder, and (2) high needs for social status and dominance, which make a person averse to being fooled and manipulated. The present research explored people’s attitudes toward magic with our Loathing of Legerdemain (LOL) scale. In a multinational sample of 1295 adults, we found support for these two broad classes of predictors. People who hated magic were marked by (1) lower Openness to Experience, lower awe-proneness, and lower creative self-concepts; and (2) higher socially aversive traits, such as lower Agreeableness, higher psychopathy, and lower faith in humanity. We suggest that magic is an interesting case for researchers interested in audience and visitor studies and that the psychology of art would benefit from a richer understanding of negative attitudes more generally.