Dari Ujian Akhir Semester V Mahasiswa FSP ISI Denpasar: Perindah Visual Karya Tari Dengan Penataan Artistik Panggung Dan Tata Cahaya
- Ulasan
- I Wayan Adi Gunarta
- 25/01/2020
- 8 minutes read
Menikmati sebuah pertunjukan karya tari, kurang lengkap rasanya jika tidak dibarengi dengan penataan artistik panggung serta tata cahaya yang apik dan terencana. Kedua itu, memegang peranan penting dalam memperkuat visual estetis karya tari serta dapat menjadikannya lebih berkesan dan bermakna bagi penikmatnya. Hal itulah yang dicoba diimplementasikan oleh Mahasiswa Semester V (lima) Program Studi Tari, Fakultas Seni Pertunjukan (FSP), Institut Seni Indonesia (ISI) Denpasar dalam menyelesaikan Ujian Akhir Semester mata kuliah Tata Teknik Pentas dan Cahaya di Gedung Natya Mandala ISI Denpasar, pada Minggu, 19 Januari 2020. Tata Teknik Pentas dan Cahaya merupakan satu mata kuliah yang bertujuan untuk meningkatkan keterampilan mahasiswa dalam mendesain dan menata artistik panggung (menata ruang pertunjukan) serta penataan cahaya sesuai dengan karakter dan kebutuhan dari karya seni yang disajikan.
Dalam ujian tersebut menampilkan 9 (Sembilan) karya tari berbentuk kontemporer yang sarat dengan nilai filosofis. Karya pertama berjudul Uma Sapta yang kaya makna. Uma Sapta terdiri dari dua kata yang berasal dari bahasa sansekerta, yaitu Uma yang berarti sinar dan Sapta yang berarti tujuh. Jadi, Uma Sapta adalah tujuh titik sinar yang ada di dalam tubuh manusia. Ketujuh sinar tersebut dinamakan cakra. Kata Cakra dapat diartikan sebagai roda atau lingkaran yang menggambarkan suatu energi yang berada di pusat tubuh. Cakra adalah pusat-pusat energi spiritual/halus yang sejajar dengan Sushumanadi dari sistem kundalini. Karya ini ditarikan oleh 7 (tujuh) penari dan menggambarkan proses membangkitkan cakra dalam diri atau tubuh manusia. Bangkitnya ketujuh titik cakra dalam tubuh manusia dapat memberikan suatu energi positif dalam setiap proses perjalanan hidup. Dalam penampilannya, tata artistik karya Uma Sapta diperkuat dengan penggunaan lampu elektrik yang dililitkan di tubuh penari, serta dapat digerakan dan diolah membentuk konfigurasi yang artistik.
Karya kedua berjudul Dangkep. Ia yang dipendam, ia yang ditemukan, ia yang dikendalikan dengan raut wajah, ayunan tangan, dan langkah kaki. Karya ini menggambarkan pancaran sinar yang muncul dan berada dalam tubuh, diri seseorang. Sinar dalam konteks karya ini dapat diartikan sebagai jati diri beserta latar belakang sosial budaya yang melingkupinya dan dapat dijadikan sebagai identitas. Pesan yang terkandung dalam karya ini, bahwa dalam kehidupan kita senantiasa harus selalu menjaga budaya kita agar tetap lestari dan disatu sisi juga tidak menutup diri terhadap perkembangan zaman. Berinovasi menjadi suatu keharusan di zaman ini, namun tentutnya harus tetap berpijak pada nilai-nilai budaya kita yang adiluhung, sehingga kedepannya dapat semakin berkembang menjadi lebih baik.Visual karya ini menampilkan gerak-gerak yang kuat dengan karakter tari Bali, serta artistiknya didukung dengan penggunan dua buah boneka manekin yang dihiasi dengan busana Tari Legong dan Tari Baris.
Karya ketiga berjudul Anak Badai, yang menggambarkan kisah perjalanan sekelompok bajak laut yang menjadi penakluk samudera. Dalam penampilannya, visual gerak karya ini dipadukan dengan penggunaan video mapping yang bergambarkan gelombang samudera dan sebuah kapal yang tengah berlayar dan diproyeksikan dengan LCD Proyektor. Perpaduan antara gerak tari dan video mapping tersebut mampu memberikan kesan atau suasana dramatis seolah-olah berada di tengah lautan.
Selanjutnya, penampilan karya keempat berjudul Dunia Koran. Karya ini menggambarkan seseorang yang sedang membacakoran dan berisikan berita tentang pencurian, kemudian ia terlarut dan masuk kedalam cerita tersebut, sampai akhirnya dapat kembali lagi ke dunia nyata. Karya ini ditata cukup apik dengan menggunakan instalasi artistik yang bahan-bahannya terbuat koran. Seluruh area panggung ditutupi dengan instalasi koran yang dirangkai secara kreatif.
Ibu Pertiwi merupakan judul karya kelima yang disajikan dalam Ujian Akhir Semester pada mata kuliah Tata Teknik Pentas dan Cahaya. Karya ini mengkritisi tentang keadaan lingkungan atau kondisi bumi yang dahulunya begitu bersih dan asri, namun kini oleh karena “keserakahan” manusia dalam mengeksploitasi alam menjadikan kondisi lingkungan dan ekosistem yang ada didalamnya menjadi rusak dan tercemar. Selain didukung penataan cahaya, pada bagian awal penyajian karya ini juga diperindah dengan proyeksi video mapping yang berisi gambar alam atau hutan yang asri dan pada bagaian ending menampilkan kondisi alam yang telah rusak dengan visual gerak-gerak tari yang terpecah atau broken.
Karya keenam berjudul Kekemid, karya ini mengambarkan tentang pemujaan terhadap leluhur dalam kepercayaan Hindu Bali, yang dipercaya dapat memberikan tuntunan dan perlindungan dalam hidup. Karya ini menggunakan properti yang bentuknya menyerupai sebuah pelinggih (tempat suci) dan menggunakan beberapa buah pasepan, dimana asap yang dihasilkan dari pembarakan kemenyan dimaknai sebagai simbol penghantar pesan kepada leluhur. Kemudian penampilan karya ketujuh berjudul Lost. Karya ini menggambarkan perasaaan ketika tengah kehilangan seseorang. Perasaan sedih, kecewa, marah bercampur aduk menjadi satu, namun disatu sisi juga terselip harapan agar dapat bertemu dan bersama kembali. Karya ini sarat dengan pesan, bahwa dalam menjalani kehidupan, ketika mengalami kehilangan kita tidak boleh larut didalamnya, tetapi harus dapat bangkit untuk melanjutkan hari yang lebih baik. Karya Lost menggunakan sekitar 23 buah lilin elektrik yang ditata disekeliling ruang pertunjukan untuk memperkuat kesan dramatis karya. Cahaya lilin dalam karya ini dimaknai sebagai simbol harapan.
Penampilan karya kedelapan berjudul Bali Kini. Karya Bali Kini menggambarkan tentang tubuh penari yang menarikan tari tradisi dan tari kontemporer. Tubuh tradisi di era modernisasi jangan goyah, tepap terbuka, dan harus terus berkembang. Karya ini menyampaikan pesan, di dalam dunia seni tari, tubuh tradisi atau tari tradisi harus tetap dijadikan sebagai pijakan dan akar dalam menciptakan atau mengembangkan tari kontemporer agar tetap berkarakter dan memiliki ciri khas serta tidak kehilangan identitas ketubuhan. Tata artistik karya ini ditunjang dengan penggunaan tali karet berwarna putih yang dikaitkan pada tubuh penari sebagai simbol yang menjembatani antara tubuh tradisi dan tubuh kontemporer. Selain itu karya Bali Kini juga menggunakan gelungan Tari Baris dan awiran sebagai instalasi yang dimaknai sebagai simbol identitas tubuh tradisi dalam tari Bali.
Karya kesembilan, merupakan sajian terakhir berjudul Carik Kapal. Karya ini terinspirasi dari tradisi perang tipat bantal yang lahir dari budaya pertanian masyarakat Desa Kapal, Mengwi, Badung. Dalam lontar aci rah pengangon, tipat dan bantal adalah simbolisasi dari purusa dan pradana yang harus selalu bertemu untuk mewujudkan kesejahteraan. Masyarakat Desa Kapal meyakini jika tradisi ini tidak dilakukan, maka carik atau sawah di Desa Kapal akan mengalami kekeringan dan terserang hama atau wabah penyakit. Selain mengusung tema kearifan lokal sebagai sumber inspirasi, karya ini juga mengkritisi kondisi lahan pertanian di Bali yang kini tengah diterjang oleh arus modernisasi dan kapitalisme. Akibatnya banyak lahan pertanian produktif yang kini beralih fungsi menjadi perumahan atau “ditanami beton”. Karya ini menggunakan properti empat buah tedung atau payung yang berisi lampu dan menggunakan tujuah buah capil atau topi dari anyaman bambu. Selain itu, untuk menambah kesan dramatis pada karya ini juga menggunakan property empat buah lelakut atau orang-orangan sawah yang terbuat dari alang-alang yang ditarikan dengan cara digantung. Ada uang kertas yang ditaburkan dari atas langit-langit panggung, sehingga membentuk kesan seperti hujan. “Hujan uang kertas” ini menyimbolkan kehidupan masyarakat yang gemar berpoya-poya, dibutakan oleh uang, dan harta.
Penampilan dari kesembilan karya tari itu, dari segi penataan cahaya dan tata artisitknya sudah tertata dengan sangat rapi. Sekalipun masih ada beberapa catatan-catatan yang perlu dijadikan sebagai bahan evaluasi untuk penyempurnaan karya tersebut. Penataan desain koreografi, rias, dan busana yang dilakukan secara apik merupakan sesuatu yang mutlak dalam karya tari dan akan semakin dramatis bila ditunjang dengan tata artistik dan cahaya baik pula. Penataan artistik panggung berfungsi untuk memperindah latar atau setting pertunjukan sesuai dengan tema, karakter, dan kebutuhan karya. Sedangkan tata cahaya berperan penting untuk menciptakan dan memperindah suasana pertunjukan, serta membentuk kesan dimensional dan memperjelas penampilan penari di atas pentas. Kelas Tata Teknik Pentas dan Cahaya ini memberikan pengalaman kepada para mahasiswa dalam menata artistik panggung maupun menata cahaya dan dapat dijadikan sebagai bekal dalam setiap aktivitas berkesenian di masa mendatang. Harapkannya tentu, agar nantinya selalu dapat menampilkan karya pertunjukan yang dramatis, dengan tetap berlandaskan pada prinsif etika, estetika, dan logika.
I Wayan Adi Gunarta
Dosen Fakultas Seni Pertunjukan ISI Tamatan S2 Penciptaan Seni Tari di ISI Yogyakarta yang lahir dan tinggal di Desa Darmasaba, Kecamatan Abiansemal, Kabupaten Badung.
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