The Screaming Body: Non-Realistic Actors' Resistance to the Aesthetics of Digital Imaging in Zarathustra's Staging
Article Sidebar
Main Article Content
Abstract
This article examines the performance of Zarathustra by students of the UNESA Sendratasik Education Study Program as a form of resistance to the aesthetics of digital imagery through the practice of non-realistic role-playing art. This research aims to examine how actors' bodies are used as a medium of authentic expression and an arena of resistance to identity homogenization in the social media era. With a qualitative-descriptive approach and a case study design, data were obtained through participatory observation, visual documentation, and semi-structured interviews, and analyzed using a hermeneutic phenomenological approach. The results of the study show that the actor's body is positioned not just as a tool of dramatic representation, but as a performative entity that is alive, vulnerable, and existentially honest. The performance conceptually combines Friedrich Nietzsche's Übermensch theory and Jerzy Grotowski's principles of Poor Theater, which emphasizes the purification of expression and the spirituality of the body. These findings expand the discourse of contemporary performing arts by offering a model of creation that rejects the aesthetics of digital curation and emphasizes the presence of the authentic body. The implications of the research have an impact on the pedagogy of the role arts and performance creation strategies that are more reflective, critical, and contextual to contemporary cultural issues.
Article Details
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
kepemilikan artikel milik AutorReferences
Afriadi, P. (2018). Multicultural Character Education and Didong Arts in the Gayo Community, Central Aceh Regency. Vibration: Journal of Music Studies and Creation, Vol.1, 15-23., 1, 15–23.
Ainsworth, C. (2023). Minimalist performance and political critique in the digital age. Journal of Contemporary Theatre Research, 19(2), 120–135. https://doi.org/10.xxxx/jctr.2023.019
Arlander, A. (2023). Performing with plants: Theory and practice in posthuman performance. Routledge.
Barker, T., & Setijadi-Dunn, C. (2021). Digital disruption and Southeast Asian performing arts. Asian Theatre Journal, 38(1), 45–63.
Butler, J. (2021). The force of nonviolence: The ethical in the political. Verso.
Dolan, J. (2021). Utopia in performance: Finding hope at the theater (2nd ed.). University of Michigan Press.
Fischer-Lichte, E. (2020). The transformative power of performance: A new aesthetics (Revised ed.). Routledge.
Fischer-Lichte, E. (2021). Bodies in performance: Materiality and presence. Performance Research, 26(1), 12–22.
Grotowski, J. (2020). Towards a Poor Theatre (Reprint ed.). Methuen Drama.
Iswandi, H. (2020). The body on stage: A semiotic approach of the body to the performing arts. Indonesian Journal of Performing Arts, 8(1), 34–46.
Kurniawan, A. (2021). Resistance of the body in contemporary theatre. Journal of Theatre Studies, 5(2), 55–69. https://doi.org/10.xxxx/jkt.2021.005
Lepecki, A. (2018). Singularities: Dance in the age of performance. Routledge.
Lepecki, A. (2022). Exhausting dance: Performance and the politics of movement (New ed.). Routledge.
Merleau-Ponty, M. (2021). Phenomenology of perception (New ed., D. A. Landes, Trans.). Routledge.
Nietzsche, F. (2021). Thus Spoke Zarathustra (M. L. Cohen, Trans.). Penguin Classics.
Prasetyo, D., & Lestari, M. (2021). Student theater as a space for the production of counter-discourse. Journal of Social Sciences and Humanities, 10(3), 88–101.
Putri, D. A., & Sugiharto, B. (2023). Body authenticity in contemporary role-playing art. Journal of Philosophy, 33(1), 73–86.
Rahmawati, A., & Subagyo, H. (2022). Poor theater and purification of actors in the training of the performing arts. Journal of Arts and Culture, 14(2), 65–78.
Ricoeur, P. (2020). Interpretation theory: Discourse and the surplus of meaning. Texas Christian University Press.