Ilham Rifandi, Ifwanul Hakim, Nazlah Syahaf Nasution
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引用次数: 1
摘要
Gabe Halak Batak这个词来源于对巴塔克多巴人身体传统的研究,意思是“成为巴塔克人”。本研究是利用巴塔克托巴族的身体传统进行的,其中之一是托托。作者之所以对折磨者感兴趣,是因为折磨者的基本技巧被隐喻地命名,通过这种命名可以成为演员探索其生理过程的“入口”。在这项研究中,作者对棉兰的Aka Bodi剧团的演员进行了实施,他们来自三个不同的种族。本研究采用民族志与自我民族志的方法收集资料,并探讨在阿卡博迪剧院表演训练中运用生理探索的过程。得到的结果是,参与培训过程的每个演员都经历了与巴塔克托巴民族文化相关的各种敏感性,并且对培训中的动作创作具有视觉参考。
Gabe Halak Batak; Batak Toba Ethnic Bodiedness Traditions as a Reference for Actor Training
Gabe Halak Batak is a term that was born from research on the bodiedness traditions of the Batak Toba people which means "Being a Batak Person". This research was conducted to take advantage of the bodiedness traditions of the Batak Toba Ethnic Community, one of which is Tortor. The author's interest in the tortor is because there are basic techniques in the tortor which are named metaphorically and through this naming can be an 'entrance' for actors in the process of exploring their physiology. In this study, the authors implemented it for actors from the Aka Bodi Theatre group in Medan who came from three different ethnicities. This study uses ethnographic and autoethnographic approaches in collecting data and interrogating the process of physiological exploration applied to acting training at the Aka Bodi Theatre. The results obtained are that each actor who participates in the training process experiences a variety of sensitivities related to the Batak Toba ethnic culture and has visual references regarding the creation of actions in the training.