PENDALAMAN KARAKTER SISWA-SISWI DALAM EKSTRAKURIKULER TEATER DISMA NEGERI 1 ALALAK MENGGUNAKAN OLAH SUKMA

Masalah yang ditemukan dalam Ekstrakuikuler Teater di SMA Negeri 1 Alalak adalah siswa kesulitan dalam mempelajari dan memainkan karakter yang mereka perankan. Ibu Ani Nilawardani, M.Pd selaku penanggung jawab Ekstrakurikuler Teater di SMA Negeri 1 Alalak tidak pernah memberikan arahan untuk pendalaman karakter dalam berteater, beliau pernah tepikir untuk mengajak siswa/siswi ekstrakurikuler Teater olah sukma namun ibu Ani tidak jadi melakukannya karena beliau dan pihak sekolah masih ragu-ragu untuk melakukan olah sukma dengan pemahaman bahwa olah sukma bisa membuat siswa/siswi Ekstrakurikuler Tetaer kesurupan. Penelitian ini bertujuan untuk 1.) Mengetahui proses pelaksanaan pendalaman karakter siswa / siswi ekstrakurikuler Teater di SMA NEGERI 1 Alalak melalui olah sukma, menggunakan metode pendekatan kualitatif. Penelitian ini memberikan pengalaman baru terhadap siswa/siswi untuk bisa belajar bersama dan merasakan bagaimana caranya memainkan karakter, karena karakter sangat penting bagi seorang aktor dalam ber teater untuk menciptakan suasana agar para aktor bisa membawakan perannya senyaman dan bisa sebagus mungkin. Sampel penelitian ini adalah Siswa/siswi yang mengikuti ektrakurikuler teater di SMA Negeri 1 Alalak. The problem found in Theater Extracurricular at Alalak 1 Senior High School is that students have difficulty in learning and playing the characters they play. Mrs. Ani Nilawardani, M.Pd as the person responsible for Theater Extracurricular activities at Alalak 1 Senior High School has never given any direction for character deepening in theater, she had thought to invite extracurricular Theater students, though Ibu Ani did not do it because she and the school still hesitant to do sukma with the understanding that if sukma can make students Extracurricular Theater possessed. This study aims to Determine the process of implementing the deepening of the character of students of extracurricular Theater at Alalak 1 Senior High School through processing the sukma, using a qualitative approach method. This research provides new experiences for students to be able to learn together and feel how to play the character. because the character is very important for an actor in performing theater to create an atmosphere so that the acto performs the role as comfortable and can be as good as possible.

Immediate Effects of a Semi-Occluded Water Resistance Ventilation Mask on Objective and Subjective Vocal Outcomes in Musical Theater Students

Background Traditional semi-occluded vocal tract exercises (SOVTEs) are restricted to single-phoneme tasks due to the semi-occlusion at the mouth, which hinders full articulation, continuous speech, and singing. Innovative SOVTEs should overcome this limitation by creating the semi-occlusion outside the oral cavity. Purpose The purpose of this study was to investigate the immediate effects of a semi-occluded water resistance ventilation mask, which allows for continuous speech and singing, on objective (voice range, multiparametric voice quality indices) and subjective (auditory-perceptual, self-report) vocal outcomes in musical theater students. Method A pre-/posttest randomized controlled trial was used. Twenty-four musical theater students (16 women and eight men, with a mean age of 21 years) were randomly assigned into a study group and a control group. The study group received a vocal warm-up session with the innovative water resistance ventilation mask (tube attached to the mask “outside” the mouth), whereas the control group received the traditional water resistance approach (tube “inside” the mouth). Both sessions lasted 30 min and were similar with respect to vocal demand tasks. A multidimensional voice assessment including objective and subjective outcomes was performed pre- and posttraining by an assessor blinded to group allocation. Results The Dysphonia Severity Index significantly and similarly increased (improved) in both the study and control groups, whereas the Acoustic Voice Quality Index solely decreased (improved) in the control group. The intensity range significantly decreased (worsened) and the semitone range significantly increased (improved) in the study group, whereas no differences in voice range profile were found in the control group. Auditory-perceptually, a more strenuous speaking voice was noticed after the use of the traditional water resistance approach. The subjects perceived both SOVTEs as comfortable vocal warm-up exercises that decrease the amount of effort during speaking and singing, with a slight preference for the water resistance ventilation mask. Conclusions Both the innovative water resistance ventilation mask and the traditional water resistance exercise seem effective vocal warm-up exercises for musical theater students. The additional articulatory freedom of the mask might increase the phonatory comfort and the practical implementation of SOVTEs in the daily vocal warm-up of (future) elite vocal performers. The hypothesis of a higher transfer to continuous speech or singing in the mask condition has not been supported by the current study. Larger scale investigation and longer term follow-up studies are needed to confirm these preliminary results. Supplemental Material https://doi.org/10.23641/asha.11991549

Performance review: online research guides for theater students

Purpose This study aims to assess current academic library services to theater students through an examination of online research guides. Design/methodology/approach This study uses a representative sample of 100 universities that offer theater degrees; the library website at each of these institutions is examined for the existence of a theater research guide. Each research guide was analyzed in depth. Findings The vast majority of the universities in the sample did create research guides for theater students, though the contents of these guides varied greatly. The study highlights findings including popular databases and journals for theater students, as well as media resources and common subjects for subsections or course guides. Research limitations/implications This study only examined a sample of 100 institutions; many theater research guides were not examined for this study. Additionally, analysis of online content is a time-specific endeavor: a guide may look significantly different from one month to the next, though the recommendations in this article might prove useful even if the sites at these institutions have since been updated. Practical implications Through an examination of a great number of guides, a few practical suggestions emerge for librarians looking to create theater research guides, such as highlighting playscripts and other print materials and including hyperlocal information (such as university production history). Originality/value Though several studies have been performed on research guides in various disciplines, this article is the first on those to theater students.

Survey of Health Problems in Musical Theater Students: A Pilot Study

Musical theater performers are the “triathletes” in the performing arts. The field requires versatility in a combination of skills including dancing, singing, and drama in a high frequency of performances. The aim of this study was to analyze and evaluate the health situation of musical theater students using a complete musical educational institute as an example (n = 37). Methods: The basis for the evaluation was a questionnaire survey (standardized F 1000). All students of the school participated (20 males, 17 females). Results: Of the students, 62% have a part-time job for financial reasons, and 67.7% state only a “partial satisfaction” with their body. Regarding injury, 45.9% claim to sustain an orthopaedic injury up to twice a year, and 29.7% up to three or four times. A total of 49 acute injuries (1.3/student) and 42 chronic complaints (1.1/student) were stated. The lower extremity was the most common acutely injured region (65.3%), followed by the spine (16.3%) and upper extremity (14.3%). Of chronic complaints, the lumbar spine was the most commonly affected area, followed by the hip joint and pelvic area. Thirty-three and 24% of acute injuries occurred during “spins” and/or “stretching,” respectively. There were various causes for physical and mental problems. Discussion: The results show both parallels and differences to the relevant literature. It is shown that health hazards already arise in the education of musical performers. This provides particulars for the implementation of injury prevention measures during the theoretical and practical education of musical students.