Learning with English

THE DEFINITION OF DRAMA AND THEATER
According (Simon&Schuster, 1966) said a drama is a work of literature or a composition which delinates life human and activity by means of presenting various actions of-and dialogues between – groups of characters. According (Simon & Schuster, 1966) said a drama is a work of literature or a Composition Which delinates human life and activity by means of presenting Various actions of-and Dialogues Between - groups of characters.
1. Definition of drama Definition of drama
a. Drama means action, action. Berasal dari bahasa Yunani “draomai". Derived from the Greek "draomai" meaning to do, force, acting and so forth.
b. Drama is life in describing the motion.
c. Conflicts of human nature are the main source of drama.
2. Definition of theatrical
a. Etymologically: Theatre is a performance hall or auditorium.
b. In broad terms: Theatre is all the shows in the shows in front of crowds.
c. In a narrow sense: Theatre is a drama, the story of life and human life on the stage by telling the media: Conversations, movement and behavior based on a script written in tunjang by the decorations, music, song, dance, etc..
In the Dutch language, the drama is toneel, later by PKG Plays Mangkunegara VII created the term.

B. THE IMPORTANT ASPECTS IN DRAMA AND THEATER
There are some important aspects in Drama and Theater, involved:
1. Good acting
Acting is not only a form of dialogue, but also in the form of motion. Good dialogue is dialogue that meets the following requirements:
1. Sound (both volumes)
2. Clear (good articulation)
3. Understandable (correct pronunciation)
4. Appreciate (in line with the demands / mental role in the set in the script)
Good motion is motion that meets the following requirements:
1. Visible (good blocking)
2. Clearly (no doubt, convince)
3. Can be understood (according to the laws of motion in life)
4. To live (in accordance with the demands / soul role specified in the script)
Explanation:
1. Volume and best voice is the voice can be heard far and wide.
2. Good articulation and pronunciation is clear. Every syllable spoken in a clear and bright even though in saying so fast. Do not occur in words that speak to overlap.
3. The correct pronunciation is the pronunciation of words in accordance with the laws of the pronunciation of the language in use. For example “Tidak Takut”, which means "Berani" must be pronounced not ber-ani.
4. Appreciate or inspire the means of pressure or a song greeting should be able to create the impression that in accordance with the demands of a role in the script
5. Blocking is the placement of players on the stage, the player who earned between one and the other does not cover each other so that viewers can not see the player in the cover.
The player looks better most of the front of the body than most of the back of the body visible. This can be set with the benchmark as follows:
1. If you stand facing to the right, then right foot should be in front.
2. When standing facing the left, the left foot should be in front.
3. Balance must be set also the players on stage. Do not let all the players clustered in one place. In the event that set the balance, composition:
a) The right side is heavier than the left.
b) The front is heavier than the rear.
c) You’re high heavier than low.
d) You’re heavier than the width of the narrow.
e) Your light is heavier than the dark.
f) Facing heavier than the backs.
The composition is set not only aims to look good in color but also for appropriate happening scene.
1) Clearly, no doubt, convinced, having motion in the sense that half measures do not do not even excessive. If in doubt impressed impressed rigid whereas if excessive over-acting
2) At understand, means that what we realize in the form of motion does not deviate from the laws of motion in life. For example when lifting heavy items with her right hand, then our body will be tilted to the left, etc.
3) Appreciate the meaningful gestures of the body or facial movements must match the demands of a role in the manuscript, including all shapes and ages.
2. Breathing and vocal
Respiration
A performance artist, playwright or a singer either, so to get a good sound it also requires good breathing. Therefore he must train the respiratory / breathing equipment and use it appropriately in order to obtain maximum results, whether in practice or in performance.
There are four types of breathing common in use:
a. Respiratory chest
In our chest breathing the air absorbs and then we enter into the thoracic cavity so that our chests swelled. Among theater people usually do not chest breathing in use because in addition to capacity, or capacity to air a very small chest, it also can interfere with movement / acting of us, because of the shoulder becomes stiff.
b. Respiratory stomach
On the call belly breathing if the air we suck we enter into the stomach so that stomach distention. Abdominal breathing in use by most playwrights, because there is not much interfere with the motion and the accommodation more than the chest.
c. Respiratory complete
In a complete respiratory we take the chest and abdomen to save the air, so that the air we absorb so much (maximum). Complete respiratory in use by some performance artist who are not usually give priority to acting, but the vocal emphasis.
d. Respiratory diaphragm
Respiratory diaphragm is that if we take the air at the time, then our diaphragm expands. Hat can we feel with the deployment abdomen, hips, even the back of the upper body at the hip we were also expanding. According to recent developments, many theater people who use diaphragm breathing, because there is not much disturb the movement and the accommodation more than abdominal breathing.
Breathing exercises:
1. First we absorbed as much air as possible. Then enter into the chest, then lower it into the stomach, until we hold there breathes. Under these circumstances our bodies moving down to below the limit. Once on bottom, then rose again to its original position, then we breathe out again.
2. Second way is to take a breath and release it again quickly.
3. Next way is to draw a deep breath, then out through the mouth with the hiss, murmur, or other means. Here we have started to mention vocals.
Vocal
To be a player plays well, and then he should mernpunyai good vocals too basic. "Good" is defined as:
1. Can be heard (within reach of the audience, until the audience, most rear).
2. Clearly (articulation / pronunciation right),
3. Mission conveyed (the message) of the spoken dialogue.
4. No monotone.
To have these good vocals, it needs to do vocal exercises. Many ways, are doing to train vocals, among others:
1. Take a deep breath •, then out through the mouth while sent out sound "wah ..." with the sound energy. Do this over and over again.
2. Take a deep breath •, then out through his mouth as he mumbled "mmm ... mmm ..." (sound out through the nose).
3. Same with the second exercise, simply remove the voice hissed, "SSSS ... ...."
4. Breathe in the air a lot, and remove the vowels "AAAAA ... ...." To the limit last breath. Tone of voice do not change.
5. Same as above exercise, only the tone (high-low sound) be altered up and down (in a single pull of breath)
6. Remove vocals are "a ... .. a ... ..." is broken.
7. Remove the vowel sound "aiueo", "ao-au-ai-ae-", "oa-oi-oe-ou", "iao-IAU-IAE-Aie-AIO-AIU-oui-oua-uei-UIA- ......" and so forth.
8. Shout amain to the level of hysteria.
9. Unmute, talking, shouting berialan, crouching, rolling, running, spinning and various lainnnya.
3. Articulation
The one in purpose with articulation at the theater is the pronunciation of words through the mouth so that sounded good and true and clear, so that the ear listener / viewer can understand the words spoken. In terms of this articulation can be found several reasons that cause poor articulation / not true, namely:
a. Handicapped natural articulation: Articulations of these defects in naturally by people who stutter speak or who is difficult to say one konsonon, such as 'r', and so forth.
b. Articulation was not caused by poor articulation defect, but rather occurs at any time. This often occurs in the pronunciation script / dialogue.
For example:
1) Kehormatan menjadi “kormatan” o Honorary becomes "kormatan".
2) “Menyambung” to “mengambung”, and so forth.
Bad articulation because not used in the dialogue, spoken too fast, nervous, and so forth.
1) Articulation indeterminate: this happens because the pronunciation of words / dialogue is too fast, as if word for word without a huddle at all distances.
To get a good articulation, we must do the exercises:
1) Saying the alphabet correctly, note the form of the mouth at every pronunciation. Say each letter with a tone-high tone, low, nasal, small, large, etc. Say also in a whisper.
2) Vary with the pronunciation of slow, fast, up, down, etc.
3) Reading sentences with different variations as above. Note also the form of the mouth.
4. Geticulation
Getikulation a way to cut off the word and puts stress on the word or sentence in a dialogue. So as well as articulation, getikulasi also a part of the dialogue, it's just a different function. Getikulation beheadings are not mentioned in the dialogue sentence because one word in one sentence sometimes has the same meaning. For example the word "Go!!!!" with the phrase" Raise your legs from here!!!” Also in the drama could have been a dialogue that shaped "And?", "Why?" Or "No!" And so forth. Therefore in need of skills in cutting off said at a dialogue.
Gesticulation meant to be done because the first words to the next word in a dialogue can have different purposes. For example: "You went too far. Between "Mr. missed" and "Go" to be done beheadings because of both having a different purpose. This is done to be more fluent in emphasis on the word. Misalnya "Tuan kelewatan"....... For example "out of line sir "....... (Pressure), "Go ...." (Under pressure).
5. Intonation
If the dialogue that we say, we did not use intonation, it will seem monotonous, flat and boring. Which intonation purposes here is the pressures given in words, parts of words or dialogue. In order intonation, there are three kinds, namely:
a. Dynamic pressure (hard-weak)
Say dialogue in the script by doing emphases on every word that needs emphasis. For instance I am on the sentence "I bought this pencil" Note that any pressure has a different meaning.
1) SAYA membeli pensil ini. - I bought these pencils. (Saya, bukan orang lain) (I, not someone else)
2) Saya MEMBELI pensil ini. - I BUY this pencil. (Membeli, bukan, menjual) (Buying, instead, sell)
3) Saya membeli PENSIL ini. - I bought this PENCIL. (Pensil, bukan buku tulis) (Pencil, not a notebook)
b. Tone pitching (high)
Try saying the sentence / dialogue using voice / accent, that is, not to say as usual. The one on the intent here is to read / say the dialogue with the voice fluctuates and changes. So that the tone is meant by pressure on the high and low pressure of a word.
c. Tempo pressure
The pressure is to slow or accelerate the tempo of pronunciation. Pressure is often used to further clarify what we mean. For workouts try reading the script with different maturities. Slow or fast turns.
6. Color voice
Almost everyone has a different sound colors. Similarly, age affects the color of sound. For example, a grandfather, his voice will be different colors with a young child. A mother would be a different color of her voice with his daughter. Especially among men with women, will be the color of her voice is very clear differences.
So it is clear that in order to bring a dialogue with both, then the other should pay attention to articulation, gesticulation, and intonation, must consider also the voice of color. As an exercise to try to change the color-fox with a voice imitating the sound color of an old man, beggars, children, etc...
In addition to the basics of vocals on top, in a dialogue is needed also by an appreciation. About this appreciation will be explained in a separate section.
7. Motion
Body Training
Before we go any further to learn the ins and outs of motion, and then we must first know about the body though. Sports body (can also be said gymnastics), are needed before we entered the exercise or performance. By working out our bodies, get the state or condition of the body to a minimum.
Also if the body also has a goal to train or relax your muscles so that the elastic, flexible, supple and so that no parts of a rigid body during the exercises later.
Implementation of body
a. First let's look at all and feel with all the senses we have hadBy wearing feel we noticed throughout our body, ranging from head to toe, all of which it is God's grace given to us confident.
b. Now let us move our bodies.
1) Drop your head forward. Then drop into backside to the left, to right. Remember the head / neck in a state of weakness, such people sleepy.
2) Turn head slowly and feel the indentations in the neck, starting from the face. And then to the left, backwards and to the right. And so on and do it many times. Remember, slowly and feel!
3) Rotate the shoulders forward several times, also to the rear. First one by one first, then the left and right shoulder playing in unison.
4) Rotate your right shoulder toward the front, while the left shoulder turned toward the back.
5) Expand the hand and then turn the wrist, elbow swivel limit, rotate the whole hand. Do it over and over again, first right hand first, then left hand, the new together.
6) Turn the waist to the left, front right, rear.
7) Take a perfect vertical position, and then lift your right foot with a pedestal on the left leg. Take care not to fall. Then turn right ankle, right knee swivel, rotate the entire right leg. Work is also in accordance with the way my left leg above.
8) As if the opening and closing of this body, do running in place and jumping jacks.
Various Kinds of Motion:
Each person requires motion in his life. Many human motion that can be performed. In basic training theater, we must also be familiar with a variety of motion exercises on this motion must be considered specifically by someone who is dabbling in the theater. Basically, the motion can devided into two, namely:
a. Motion theatrical
Theatrical motion is the motion used in the theater, the motion that was born from the desire to move in accordance with what is demanded in the script. So theatrical motion only created at the time of play scripts.
b. Non-theatrical motion
Non-theatrical motion is motion in our daily lives. Motion used in the theater (theatrical motion) there is a variety, we can roughly divided into two, namely the motion of fine and coarse motion.
1) Smooth Motion
Smooth motion is a motion on our faces or change of expression, or more commonly known again with an expression. This motion arises because of the influence / emotion, anger, sadness, joy, etc.
2) Coarse Motion
Coarse motion is motion of the whole or a part of our body. This motion arises because of the influence from both outside and from within. Rough motion can still be divided into four sections. Namely:
a) Business, the small gestures that we do without the full awareness of this motion we do spontaneously, without thought of (reflex). For example:
• When we're hearing the music, we unconsciously waving his hand or foot to the music.
• When we are studying / reading, in our sole bitten by mosquitoes. Instinctively our hands will hit the foot of a mosquito bite without losing our concentration on learning.
b) Gestures, is the big gestures that we do. This motion is the motion that we do consciously. Motion that occurs after receiving an order from ourselves / our brains to do something, such as writing, taking the glass, squat, etc..
c) Movement, is the displacement motion of the body from one place to another. This motion is not limited to walking only, but may also be running, rolling, jumping, etc.
d) Guide, is a way of walking. How to walk here can take several forms. How to run parent will be different with a child how to walk, run by different people who were drunk, etc.
Every movement we make must have meaning, motive and basic. This should really be considered and must be truly believed by player intent and meaning what he was doing such a movement. In conducting the basic motions above we are required to improvise / create motions of the free, beautiful and artistic.
Motion exercises are:
1) Mirror Training
One then makes a movement and others to imitate, just like what his friend, as if he was standing in front of the mirror. This exercise is conducted alternately.
2) Motion exercises and face-to-eye.
Equal to the exercise of the mirror, only the second time the man was facing eyes at one another, as if the two pairs of eyes have to understand what each other will be driven later.
3) Exercise of relaxes the body.
Someone standing in a state of weakness. Then another friend to help raise their hands. Once up top is dropped. It can also be dropped before the arm / hand is played first round.
4) Motion exercises together.
A group that consists of several people doing the same movements performed by the group leader, who stood in front of them.
5) Flowing motion exercises.
A group of several people holding hands, forming a circle. Then one began to make movements (moving the hands or body) and the others follow the movements of the hands of people who took her hand. During a movement, our hands should not be separated from our friend's hand. These exercises are done with eyes closed and concentrate, so it will form an artistic movement.
8. Motion and vocal
After we practiced on vocals and motion separately, so now we're trying to integrate between the vocal and motion. Many forms of exercise that can be done, among others, uttering a long-running, running, jumping, crouching, rolling, or can as the head twirling, twirling body, and so forth.
This exercise is very useful for us at the time of acting. The aim is that we are always moving vocals and harmony, so that we do not move too much effect on the vocals.
9. Using human senses in Drama and Theater
God endowed humans with a normal five senses in their entirety. In everyday life we always use our senses, either jointly or individually. In the theater we also need to use our senses to good to be able to play a role well too.
Sensory devices so that we can work as closely as possible, of course, must be trained. It is very necessary in the theater to help us in the form of expression. Forms of exercise that can be done, among others:
a. Eye
Sitting cross-legged, staring at a point on the wall. Concentration only at that point. Try looking at that point without blinking, as long as possible.
b. Ear
“Sitting cross-legged, close your eyes. Meanwhile, someone knocked on something on some kinds of objects, where each object has a tone / sound that different. Calculate how many times a knock on the body that have been determined.”
“Sit edge of a busy street, her eyes closed. Try to recognize what the sound into the ear, for example, sound trucks, buses, motorcycles, laughter and a man on a motorcycle, the sound of shoes on the sidewalk, etc.”
c. Nose
¨ Sit back edge of the street with her eyes closed, then try to identify what the smell is all around us. For example smell of sweat people, who passed before us, smell the perfume, exhaust fumes, tobacco smoke, or new land drenched rain, etc.”
¨ Kiss hands, feet, clothing, and if it could be all over our bodies, feels and biological really how it smells.”
d. Skin
¨ Touch hands, feet, head and all over our bodies, our clothing as well. Our bodies are feeling and recognize it, look for differences between each body.”
¨ Touch the walls, floor, table, or other objects. Notice how it feels, cold or hot. Also fine or coarse in nature and try to also identify the shape. Perform this exercise with eyes closed.
e. Tongue
¨ Touch with tongue how the shape of our mouth, how the shape of teeth, palate, lips, etc.
¨ Experience with a lick, how the feeling of a shirt button, handkerchiefs, pencils, hand sweating, etc.
10. Characterization
Characterization is an attempt to display a character or a character from the character portrayed. The characters in the drama are people of character. So a player should be able to play a good show of character ruled characters correctly. Thus, his appearance would be perfect because he is not only a figure of a character, but also has the character of these figures.
For us to play a character with character as the script demanded, then we must first know the character of the character. An example, we can become a beggar role. Now, we must fully recognize how their properties, behavior, etc. Is he a cunning, brave, or cowardly, pious, or just made-up behavior.
Thus, we realize that in order to portray a character, we do not just play his position, but also his character. For example:
Figure (A) ... position (ravine) ... character (sly, pretending to be, a coward)
Figure (B) ... position (waiter) ... character (kind, friendly, honest, relented)
Characteristics can be used to train the following manner:
• By imitating the basic motions are normally undertaken by a beggar, grandparent, child, drunk, blind, etc. (Which is the basic motions here is a typical characteristic)
• Two persons or more, stand and concentrate, then one giving orders to his friend to act / serve as leaders of what is told. To help provide an atmosphere, can use the music accompaniment.
To deepen on the characteristics, it seems we also need to learn observation, illusion, imagination and emotion. For that let us get to know one by one.
11. Observation
Observation is a method to learn / observe a character. What about his behavior, his way of life, habits, interaction, speech, etc. Now that we know everything about the character, we will know the manifestation of that figure. After that we just imitate. By doing so we will become a figure that we want.

12. Illusion
Illusion is the shadow of an event that will happen or has happened, either personally experienced or not. The incident may be experiences, observations, dreams, what is seen, felt, or wishful thinking, the possibilities, predictions, etc.
Rehearsed ways, among others:
• Presenting data about an accident, fire, etc.
• Talk about traveling around the island of Java, when the teacher reprimanded, etc.
• Delivering an opinion about the environment, courtesy kampong, etc.
• Convey a desire to be king, police, gods, birds, artist, etc.
• Dreaming that one day will be war between the planets, etc.

13. Imagination
Imagination is a way to think of something that is not to be as if there were. If the illusion is the event object, the object is the object of imagination or something at noun. The aim is that we do not just always rely on concrete objects. Also above the stage, the audience will see that what was shown seemed really happened, although not really visible, actually experienced by the perpetrator. The ability to use their imagination really tested when we're playing a pantomime.
For example, in the script obsession, there is a dialogue between leaders of the choir with the Holy Spirit. Holy Spirit here just heard his voice, but the player must assume that the Holy Spirit really exists. In another example we can see in a manuscript in which there is a dialogue, as follows: "Hey lieutenant, try to notice the dark bespectacled woman in front of the store. Notice the hat and he wore a black bag. I think I never saw the bag and the hat worn Mistress Lisa a few moments before the murder ". The figures discussed above are only fiction. Women's dark bespectacled, hat, and black skin not visible or not visible in the stage.
It has been stated that the object is the object of imagination or something to noun, including here all the properties and circumstances. As an exercise can be used in ways as follows:
• Please list as many things that occurred in our brain. Not to mention an object more than once.
• Specify an object that does not exist around us and then imagine it and specify the form, size, character, setting, colors, etc..
• Regard or treat an object other than the truth. For example, consider a rock is an extremely funny stuff, good shape, location, etc. Therefore, by looking at the rock we will be laughing so hard.
• Consider something different objects have different properties. For example a pencil is like to be salty, bitter, sweet and then turned into objects that heat, cold, rude, etc..
14. Emotion
Emotion can be interpreted as an expression of feelings. Emotion can be a feeling of sadness, anger, hate, confusion, nervousness; etching the play, a player must be able to control and master his emotions. It is important to give color to the character played by and figures to support these characters. Emotions also affect the body, namely the behavior, countenance (expression), pronunciation, dialogue, breathing, intention. Intention here arises when the emotion occurs, for example, after angry then appears intention to strike, etc.
15. Appreciation
Appreciation is to observe and study the contents of the script for throw our bodies. For example when we played as Mr. Usman who work as cops, so now we are no longer acting as ourselves but become Mr. Usman who work as police. That is what we should apply well if we're going to play a drama script.
Ways that are used in the appreciation is:
• Learn the manuscript as a whole, in order to know what is required by the script, what you will find problematic, and what the starting point and core of the manuscript.
• Exercise and dialogue contained in the manuscript. So here we have got a picture of an act of character are we going to Play.
• As an exercise try to read a script / dialogue with musical accompaniment as the assistant to the giver atmosphere. Biological new music first began to read.
16. Blocking
The definition of blocking is the position of the body at the above stage. In dramatic play, blocking a very important, therefore, in time to play we must always control our bodies so as not to damage the blocking. What is meant by good blocking is blocking must be balanced, whole, variable and has a focal point of attention and fair.
a. Balanced
Balanced means that the position players, including the existing objects on the stage (setting) are not clustered in one place, thus resulting in the biased impression. So all parts of the platform should be represented by players or objects on the stage. More detailed explanation of the balance of this stage will be presented in the section on "Composition Performance."
b. Intact
Whole means blocking the display should be a unity. All placement and movement that must be done must be mutually supporting each other and are not covered.
1) Varies
Varied means that the position players are not just any place but to form new compositions so that the audience is not saturated. State that a player should not the same as the position of other players. For example both feet, both knees, facing the same direction, etc. Except if required by the script.
2) Having a central point
Has a mean center point of each appearance must have a central point of attention. This is an important means to strengthen the role of the play and make it easier for viewers to see where the actual center point of the scene is in progress. Among the players also do not screw up one another so that it will blur the focus point where the truth lies.
3) Fair
Fair means that each player or the placement of objects should look natural, not artificial. In addition, each placement must also have motivation and be reasonable.
17. Spectator
Stage power levels can be seen in the sequence number. The front is more powerful than the rear. The right side is stronger than the left. Therefore should not put themselves or objects on the levels of high strength is strong. Find the appropriate places so that blocking a balanced look. However must remain within reasonable limits, do not be too artificial.