Dramaturgy Aesthetics of Anton Chekhov's Swan Song Performance: The Transition of Meaning from Dramatic Text to Performance Form
DOI:
https://doi.org/10.24036/jsu.v15i1.64Keywords:
Estetika Dramaturgi,, Mise-En-Scène, Nyanyian Angsa , Anton Chekhov, Teater SuasanaAbstract
This study aims to reveal the dramaturgy aesthetics of Anton Chekhov's Swan Song performance by tracing the meaning transition from dramatic text to performance form. The research employs a qualitative descriptive method with performance dramaturgy analysis using Eugenio Barba's three-level framework: organic, narrative, and evocative. Data were collected through participant observation, in-depth interviews, documentation, and focus group discussion, then validated through source triangulation. The findings indicate that performance dramaturgy aesthetics are constructed through three dynamically intertwined levels. At organic level, the relationship between the actor's body and silent stage space creates a visual metaphor for the life-death boundary. At narrative level, mise-en-scène elements including red-white contrasting lighting, tiered platforms, and symbolic properties transform the Eros-Thanatos conflict from verbal to visual-spatial form. At evocative level, slow tempo, meaningful pauses, and outstretched hand gestures evoke collective catharsis for audience. This performance successfully merges existential poetry in text with performative reality on stage.
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