Visual Teater "Si Bongkok Tanjung Puteri"

"SI BONGKOK TANJUNG PUTERI"

SUMBER IDEA

Karya              : Kalam Hamidi

Pengarah        : Mohamad Shahrul Hafis Bin Karno

Tempat           : Audotorium Dewan Budaya dan Pusaka

Tarikh             :18. 06. 2011

Masa               :9. 00 p.m

Objektif Pementasan

Bertujuan untuk menyedarkan kepada masyarakat dengan sikap keangkuhan dan ketamakan akhirnya membawa seorang itu menjerumus ke arah  kehinaan dan tidak menghormati.

Tema

Berkisahkan tentang keangkuhan dan ketamakan yang membawa seseorang ke lembah kehinaan.

Muzik

Muzik berunsurkan molodrama, mengunakan peralatan muzik tradisional seperti Rebab, gendang, serunai, gedumbak, dan gong bersesuaian dengan konsep Melayu Tradisional.

Pengarah Muzik

Hafiz Ishak

Produksi

Laskar Pelangi Management

Pelakon

M. nasir, Adlin Ramlan Ramli, Rashidi Ishak, hanc Isaac, Ayu Raudhah.

Sasaran Penonton

Semua Golongan

Tema

·         Realisme dan bercirikan konsep warisan

·         Mengunakan tema berwarna kuning dan merah

(kenapa)

Melayu secara budayanya dipengaruhi oleh budaya Siam, Jawa, Sumatra dan terutama sekali India. Pengaruh Hindu India menurut fakta sejarah sangat hebat dan Melayu pada ketika itu beragama Hindu sebelum mula memeluk Islam pada abad ke 15 iaitu selama hampir 2000 tahun. Oleh yang demikian pengaruh warna kuning dan merah amat bersesuaian dengan Teater Si Bongkok Tanjung Puteri.

(maksud)

Merah

Dikaitkan dengan warna pendahuu bagi kategori warna panas. Warna yang membawa maksud simbol kekuatan, kemarahan, kebencian, keberanian, semangat dan isyarat. Ia boleh disifatkan sebagai warna berahi dan warna hati. Kebanyakkan warna ini mengandungi implikasi positif dan negatif. Merah gelap juga memperlihatkan sifat kebangsawan manakala Merah muda mengambarkan ikatan percintaan.

Kuning

Dikaitkan dengan warna Keangungan bagi kategori warna asas. Warna ini membawa maksud ikatan, penyatuan serta kemegahan.

POSTER YANG AKAN DITERBITKAN

Oleh yang demikian, poster ini mengunakan warna warna yang berunsurkan kemegahan dan keangungan bersesuaian dengan Tajuk Si Bongkok Tanjung Puteri. Kontra warna digunakan seperti Kostum pada Si Bongkok pada poster seni kerana melibatkan unsur seni, kerana unsur seni menitik beratkan terhadap kontra warna dalam semua kerja-kerja seni.Jika salah satu atau beberapa unsur rupa mempunyai hubungan (warna, raut, arah, dll) maka kesatuan talah tercapai. Penggunaan warna keemasan tembagan pada bahagian di atas poster, bercirikan sesuatu yang sangat berharga iaitu Warisan Melayu.

Costume:

                                     Si Bongkok                                   Panglima Putih

                                                                        

Daing Alik

                                                                  Tanjung

                       

                                                               Datuk Timur

• ·         Aspek Kostum pula, menitik beratkan kepada Pakaian Tradisional Melayu kerana kita sudah sedia maklum bahawa cerita Si Bongkok ini berlaku pada Zaman Pemerintahan Johor.

PENTAS

• ·         Menitik beratkan Ukiran kayu sebagai subjek utama dalam pentas, kerana tunggak warisan  Melayu.

·         Mengunakan warna kuning mengambarkan lambang keangungan

RUJUKAN

• ·         Google Image

• ·         ompundaru.wordpress.com/2009/07/.../makna-simbol-warna/.

Silhouette

SILHOUETTE

            A silhouette including the image of a person, an object or scene consisting of the outline and featureless interior with the image of object usually being black. Traditionally in the 18th century, silhouette is form of artwork and applied to potrait or other pictorial representations cut from thin black card. After 18th century, Silhouette image may be created in any artistic media, but the tradition of cutting potrait are from black card has continued into the 21st century.

            From its original graphic meaning, the term silhouette has beeb extended to descibe the sight or representation including of a person, object or scene that is backlit and appears dark when lighting in background. Anything that appears this way. To decribe as in silhouette we can define in  exampe a figure standing backlit in a doorway. Because a silhouette emphasises the outline. Silhouette also been use in the fields of fashion and fitness to desribe the shape of a person’s body or the shape created by wearing particular style of clothing  follow in period.

            The term silhouette derivers from the name of Etienne de Silhouette a French finance Minister in 1759 went he was forced by France’s credit crisis during the 7 Years War to impose severe economies demands upon and he particularly about the wealthy the French people. His name became eponymous with anything done or made cheaply and so with these ouline potraits. Prior to the advent of photography, silhouette proiles cut from black card were the cheapest way of recording a person’s appearance.

            In period history, the family name Silhouette is a French nation form of Basque, Ziloeta, Arnaud de Silhouette. His father was from Biarritz in the French Basque Country.

PROFILE POTRAITS SILHOUETTE

The advantage of the profile potraits is it depeds strongly upon the proportions and relationship of the bony structures of the face, forehead, and nose the image is clear and simple and appearance of the sitter with changes caused by age, weight and illness. Profile portraits have been employed in coinage since the Roman era. Renaissance era period saw a fashion for the painted profile potraits and many famous people such as leonardo de Medici were depicted in profile.

Another resource, indicates that where previous studies of face recognition habe been based on frontal views, studies with silhouettes show humans are able to extract accurate information about gender and age from the silhouette alone. This important concept for artists who design a characters for visual media, because the silhouette is the most immediately recognisable and identifiable shape of the character.

In traditional, a silhouette portrait can be painted or drawn and usually to creating a silhouette potraits is to cut them from lightweight black cardboard and mount on a pale (white backgroud). A tradisional silhouette portrait artists would cut the likeniss if a person, freehand within a few minutes. Some modern silhouette artists also make them from photohraphs of people taken in profile.

The work of Johanna Caspar Lavater, Physiognomist. In 18th Century, her used silhouettes to analyse facial types is thought to have promoted the art. One of the most famous silhouette artists. August Edouart was cut thousands of portraits in duplicate. His subject including French and British nobility and US presidents. Much of his personal collecting was lost in a shpwreck. In England, the best artist create a silhouette was John Miers, who travelled and worked in different cities but had a studop on the Strand in London.

In America, silhouettes were highly popular from 1790 to 1840. The invention of the camera signaled the end of the silhouette as a wedespread form of potrait picture. The  popularity of the silhouttle potraits is being reborn in a new generation of people who appreciate the silhouette as a nostalgia way of capturing a significant occasion. 20th century, in the America silhouette artists have websites advertising their services at weeding and other such function.
REFERENCE:
1. en.wikipedia.org/wiki/Silhouette
2.www.cutarts.com/
3.silhouettemachine.blogspot.com

Representational and Presentational

REPRESENTATIONAL AND PRESENTATIONAL

Which are any of the forms of theatre are presented to a live audience. The term theatre is often applied only to dramatic and musical plays, but it can properly including in opera, dance, vaudeville and other forms. All this which have certain elements in common. They are essentially visual are experienced directy (athough film, videotapes or recorded sound may be incorporated into a performance). All this are governed by sets of rules such as scripts, secenarios, scores, or choreography that determune the language and actions of the performers, language, action or atmosphere may be contrived in order to show emotional responses from audience.
Theatre production usually can diveded in 2 category depending on the theatre artists purposes as they relate to an audiences persepective o reality. In representational theatre the artist strive to create a visual and performance reality on stage that tricks the audience into accepting the idea that what they are seeing is real. For example, the amount of that you are in the theatre watching the play you accept that what you are seeing is real and is happening in front of you. The audience become a passive to view of the experience that is happening to the characters in the drama. In the moment, the artist must change to in character in theatre drama. From time to time the audience may respond to what is happening either in laughter or applause but for the most part, the audience is there to watch and hopefully, be entertained, educated, enlightened or moved by the performance.
The artist in presentational theatre in Malaysia try to challenge the natural passivity of audence by creating a moment to moment reality, forcing the viewers to actively participate in the creation of the reality. For example, in representational theatre there are normally realistic settings on stage with actors assigned only one role throughout the production. In representational theatre the setting may not be realistic, at all and actors may be assiged a number of roles often shifting from role to role with only the most minimal of physical changes. The audience is challenged to keep up with what is developing on stage as the story is told. The actors shift roles by changing vocal characteristics, costumes, props and other. For example, an actor may begin the scene as a member of the Tetonic Theatre Project, but then as the narrative debelopes, shift into a diferent character. In presentational theatee these changes are done thoughout a play to challenge the audience to remember that they are active participants in the production of a play. As viewer of the play they must use their imagination to assist the actors in creating the full scene. So a doorway represens a house , a chair represents a living room.
In presentational theatre, epic stories can be told with a minimum number of actors and a few costumes and prop. The audince will see only a bare stagem a section of fence and a projection screen. Actors will use only what they can carry to alter the location, time, and players in a scene. Visual prohections will be used to develop mood, act as narratorm and to sugges locale. The audience will use this basic structure to follow the actors as they tell the story. Many types of drama in the history of theatre do make use of the presentational in outside and its many possible interactions wtih the representational in inside.
Presentational and Representational is a style or method if theatre wherein the actors, while playing, do not recodgnior acknowledge the existence of the audience. The actors relationship with their characters are futher characterized by emersion so complete that the actor no longer senses his own existence, bit only that of the character.

In Representational theatre that which attempts to close in simulate reality. In representational theatre, realistic sets are used and each actor potrays a single character. The converse presentational theatre is a art form which relies on audience imagination to a greate extent, using simpler sets and quite oftenm and multiple roles as actor.

resourses:
1.rincondelvago.com/theatre-production.htm
2.homepage.smc.edu/adair-lynch_terrin/ta 5/elements.htm