Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary

This article aims to investigate the art of Sidalupa Buraq Lam Tapa in Bubon-West Aceh from various perspectives using the perspective of performance studies. The method applied is qualitative with literature study or document data collection, observation, interviews, and audio-video recording. The results obtained are that the community (the audience) is also a determinant of the existence and sustainability of Sidalupa art, because this art always fills every event organized by the community. In other words, this art is held based on requests or invitations from the community. The high level of public interest in Sidalupa is due to the fact that this art can entertain guests or spectators at every event that is held, whether the apostle's circumcision, akikah, weddings, and other traditional events, even in campaign events, parades and the like. However, the Sidalupa performance does not only fill the stage or space that is oriented towards entertainment alone, but also exists in spaces that are oriented to aesthetic and artistic values, such as special arts events and the like, both at local and national levels. Furthermore, departing from the appreciation of the community, while it can be concluded that the Sidalupa art performance is an event that is carried out by every line of society. Because Sidalupa is not only limited to art, but also the identity of the community that owns it. Keywords: sidalupa, audience, performance studies. AbstrakArtikel ini bertujuan menyelisik kesenian Sidalupa Buraq Lam Tapa di Bubon-Aceh Barat dari berbagai sisi menggunakan kacamata performance studies. Metode yang diterapkan yakni kualitatif dengan teknik studi pustaka atau pengumpulan data dokumen, observasi, wawancara, dan perekaman audio-video. Hasil yang diperoleh ialah masyarakat (penonton) juga menjadi penentu keberadaan dan keberlangsungan kesenian Sidalupa, karena kesenian ini selalu mengisi setiap acara yang diselenggarakan oleh masyarakat. Dalam arti kata lain, kesenian ini digelar berdasarkan permintaan atau undangan dari masyarakat. Cukup tingginya minat masyarakat terhadap Sidalupa disebabkan karena kesenian ini dapat menghibur tamu atau penonton di setiap acara yang diselenggarakan, baik acara sunat rasul, akikah, pernikahan, serta acara adat lainnya, bahkan dalam acara kampanye, pawai dan semacamnya. Namun, pergelaran Sidalupa tidak hanya mengisi panggung atau ruang yang berorientasi pada hiburan semata, melainkan juga hadir pada ruang yang beroirentasi pada nilai estetik dan artistik, seperti acara khusus kesenian dan semacamnya, baik di tingkat lokal maupun nasional. Lebih jauh, beranjak dari apresiasi masyarakat yang demikian, sementara dapat ditarik kesimpulan bahwa pertunjukan kesenian Sidalupa merupakan perhelatan yang dilakoni oleh setiap lini masyarakat. Karena Sidalupa tidak hanya sebatas kesenian, tetapi juga identitas masyarakat pemiliknya.   Kata Kunci:sidalupa, penonton, kajian performance. Authors:Susandro : Institut Seni Budaya Indonesia AcehHatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Dadek, Teuku. (2015). Asal-usul Aceh Barat. Aceh Bar at: Badan Perencanaan dan Pembangunan Daerah.Jaeni. (2014). Kajian Seni Pertunjukan dalam Perspektif Komunikasi Seni. Bogor: IPB Press.Moleong, Lexy, J. (2021). Metodologi Penelitian Kualitatif Edisi Revisi. Bandung: PT. Remaja Rosdakarya.Pramayoza, Dede. (2013). Strategi Membaca ‘Pergelaran’, Seorang Antropolog, dan Sebuah Mozaik Penelitian, dalam Pergelaran: Sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra.RN, Herman. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi VII Banda Aceh: JKMA Aceh.Rohidi, Tjetjep Rohendi. (2011). Metodologi Penelitian Seni. Semarang: Cipta Prima Nusantara Semarang.Susandro. (2021). Geliat Kesenian Tradisional Dalupa di Aceh Barat. Banda Aceh: Balai Pelestarian Nilai Budaya Aceh. https://bulletinhaba.kemdikbud.go.id/index.php/haba/issue/view/4/36Susandro. (2021). “Wawancara Syekh Din dan Rahmat Saputra”. Hasil Dokumentasi Pribadi: 11 Juli 2021, Aceh Barat.Susandro, Wirandi, Rika., & Taruan, Hatmi Negria. (2021). Dramaturgi Kesenian Tradisional Dalupa Produksi Sanggar Seni Datok Rimba di Woyla Aceh Barat. Gorga: Jurnal Seni Rupa, 10 (1), 15-23. https://doi.org/10.24114/gr.v10i1.22730

Samuel Beckett's Waiting for Godot is one of the dramas that Martin Esslin calls the Absurd Theater. Furthermore, For Esslin, Theater of the Absurd is not only a term but a theater theory to know conventions and understand the meaning of a drama. In this way, Esslin puts the Absurd Theater into the trajectory of the development of the world's theater arts style, as well as leading the reader or audience to a perception that the life or routine that humans live in is meaningless, pointless and futile. However, the Theater of the Absurd, in the view of Michael Y. Bennett, a term that is supported by unstructured and abstract concepts. Therefore, it is necessary to develop an alternative, a term which he calls Parabolic Drama. A more structured term in understanding Waiting for Godot and other dramas that contain parallel philosophical values. This article tries to explain the dialectic of the two theater theories above, the extent to which they can bind one drama and encompass another drama. ABSTRAKWaiting for Godot karya Samuel Beckett merupakan salah satu drama yang disebut dengan istilah Teater Absurd oleh Martin Esslin. Lebih jauh, Bagi Esslin, Teater Absurd tidak hanya suatu istilah melainkan teori teater untuk mengetahui konvensi serta memahami makna suatu drama. Dengan begitu, Esslin menempatkan Teater Absurd ke dalam lintasan perkembangan gaya seni teater dunia, sekaligus menggiring pembaca atau penonton pada suatu persepsi bahwa kehidupan atau rutinitas yang dijalani manusia tidaklah bermakna, tidak ada tujuan dan sia-sia. Namun, Teater Absurd, menurut pandangan Michael Y. Bennett, istilah yang didukung oleh konsep-konsep yang tidak terstruktur serta abstrak. Oleh karena itu, perlu dibangun suatu alternatif,istilah yang disebutnya dengan Parabolic Drama.Istilah yang lebih terstruktur dalam memahami Waiting for Godotserta drama lain yang mengandung nilai filosofis yang sejajar.Artikel ini mencoba memaparkandialektika kedua teoriteater di atas,sejauh mana keduanya dapat mengikat suatu drama dan melingkupi drama lainnya.

AbstrakKarya seni mural berkemungkinan dapat mendorong meningkatkan kepariwisataan, hingga sejalan dengan meningkatnya perekonomian suatu masyarakat atau perihal lainnya. Namun, persoalannya ialah karya seni mural bertentangan dengan suatu ketentuan, khususnya sebagaimana yang terdapat dalam syariat Islam. Secara jelas dinyatakan dalam syariat Islam, dilarang membuat gambar yang menyerupai makhluk yang bernyawa atau memiliki ruh, seperti gambar manusia dan hewan. Akan tetapi, gambar tersebut dapat ditemui di pagar dan dinding-dinding rumah warga di bantaran Krueng Dho dan Krueng Daroy, Kota Banda Aceh. Faktanya, Aceh merupakan satu-satunya provinsi di Indonesia yang menjadikan syariat Islam sebagai landasan hukum Peraturan Daerah. Tujuan penelitian ini tidak bermaksud ‘memperuncing’ kontradiktif tersebut, melainkan ingin mengetahui pandangan masyarakat terhadap karya seni mural dari perspektif Islami dan berbagai kemungkinan dampak lainnya. Guna mencapai tujuan tersebut, penelitian dilaksanakan dengan metode deskriptif kualitatif. Data dikumpulkan dengan cara observasi, melakukan wawancara – terencana maupun tidak terencana – kepada masyarakat yang dianggap relevan, serta studi pustaka. Kemudian hasil penelitian dibangun berdasarkan analisis terhadap data, paparan bagaimana resepsi masyarakat terhadap karya seni mural dari sudut pandang syariat Islam.Kata Kunci: syariat Islam, mural, kontradiktif, resepsi.AbstractMural art is most likely to be able to encourage increased tourism, so that it is in line with plans to increase people's income or other matters. However, the question is the mural art which is opposed to the provisions, especially those relating to Islamic law. Clearly stated in Islamic Shari'a, released images are released that have life or spirit, such as pictures of humans and animals. However, the picture can be found on the fence and walls of the houses of the residents on the banks of Krueng Dho and Krueng Daroy, Banda Aceh City. In fact, Aceh is the only province in Indonesia that makes Islamic Sharia a legal basis for Regional Regulations. The purpose of this study is not to discuss 'trusting' these contradictions, discussing the public about mural works from an Islamic perspective and various other perspective changes. In order to achieve this goal, the study was conducted using descriptive qualitative methods. Data is collected by observation, conducting interviews - unplanned - for the community considered relevant, as well as literature study. Then the research results are built based on an analysis of the data, a presentation about the community of mural art from the perspective of Islamic law.  Keywords: Islamic sharia, murals, contradictions, receptions.