EMPTY BENCH IN INDONESIAN PERFORMING ARTS STUDIES: AUDIENCE

Many Indonesian performing art experts have stated that audience studies were conducted in minimal numbers. However, the exact number of research on performing art audiences in Indonesia remains unclear. The factors that influence it are still not known in detail. This paper used a literature review on seven nationally accredited performing arts journals from art institutes in Indonesia over the past ten years. The results showed that only 3 out of 1034 journal titles focusing on performing art audiences in the last ten years. From these findings, we can conclude that the study on the audiences is so scarce. This research theme is not interesting for performing art experts in Indonesia. Indonesian performing art experts and academicians have left the importance of audience studies. This paper also discusses the factors that influence the negligible of performing arts audience studies in Indonesia.

ABSURDITY IN PUTU WIJAYA’S SHORT PLAY

Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya

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