THEATRICAL DIMENSION ANALYSIS IN TISNA SANJAYA’S “SUJUD” PERFORMANCE ART AT “POTRET DIRI SEBAGAI KAUM MUNAFIK” EXHIBITION

• Main Author: Sopian Hadi, Ikhsan
• Format: Final Project
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/43873
• Institution: Institut Teknologi Bandung

Theatrical dimension in Visual Art is implied as aesthetical identity which related to theatrical subject. In Indonesia’s Visual Art World, Tisna Sanjaya is acclaimed as a prominent figure through his printmaking and performance art. Tisna is also known to be active and developed in theatrical environment. This study specifically discusses the existence of theatrical dimension in Tisna Sanjaya’s “Sujud” performance art at “Potret Diri sebagai Kaum Munafik” exhibition as aesthetical tendency. This study utilizes qualitative research method with interdisciplinary approach. The techniques being used for the data retrieval are literature review, theoretical review, interview, and observation of the work. Scientific approach in this study implements Terry Barret’s Art Critique Theory which includes several steps; description, Analisys, interpretation, and valuation. While in Theatrical Science approach this study uses Suyatna Anirun’s Theatre Basic Structure which consist of scripture, performer, stage, and audience. “Sujud” Performance art itself is Tisna Sanjaya’s body print artwork showing sujud movement in 99 etching plate. The work is an accumulation from Tisna’s arts which discusses diversity discourse as social-actual critique in Indonesia that contains local culture and spiritual values. The result from this study shows how theatrical dimension exists in “Sujud” performance art at “Potret Diri sebagai Kaum Munafik” exhibition. Etching as starting point in Tisna’s visual art, has arrived at performance art and installation works. Theatrical dimension which appears in those works has been identified even before etching artworks. Tisna’s works adopt theatrical dimension idioms; performance art which typical to performing art, texts and sketches as performance art reference, artists as directors and main actors, characterization through costumes, participant and Nayaga as supporting casts, multidimensional stages which implicitly cultivating physical and literal experiences. Performance art event in a manner of both Absentia and In-Absentia. Tisna’s theatrical dimension becomes arts which focus on role of life, accumulate all form of art, and is difficult to split into various art tendencies.