Development of Beginner Actors through the Teaching Practitioner Program in the PBSI Study Program at Universitas Sarjanawiyata Tamansiswa
DOI:
https://doi.org/10.22437/jcs.v5i1.57754Keywords:
beginner actor, basic training, teaching practice, stage production, educational theatreAbstract
The learning of the Stage Production course in the PBSI Study Program at Universitas Sarjanawiyata Tamansiswa faces challenges in preparing students as beginner actors, particularly in integrating theoretical understanding with acting practice. This research aims to explore strategies for developing beginner actors through the combination of basic training and performance preparation within the framework of the Teaching Practitioner Program. Using a descriptive qualitative method, this research positions the researcher as the primary instrument to capture learning dynamics holistically through participatory observation, interviews, and documentation. The research subjects consisted of 30 students from the Stage Production class and the course lecturer, with data analyzed using the Miles, Huberman, and Saldaña model through three stages: data reduction, data display, and conclusion drawing. The findings reveal that the synergy between the training phase (body training, vocal training, emotional training) and the rehearsal phase (reading text, cut-to-cut, run through) significantly builds students' performative readiness. The presence of practitioners strengthens this process by introducing professional theater working methods, which impact the improvement of discipline, collaborative abilities, and students' understanding of the complex theater production ecosystem. In conclusion, the integrative model between basic training and performance preparation within the Teaching Practitioner Program effectively develops beginner actors who are not only technically skilled but also possess collective awareness and strong character, while offering significant contributions to the development of performing arts education curricula in higher education institutions.
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Virkkula E. (2016). Communities of Practice in the Conservatory: Learning with a Professional Musician. British Journal of Music Education, 33(1), 27–42. https://doi.org/10.1017/S026505171500011X
Wahid, F. I. (2017). Proses Kreatif Berteater pada Mahasiswa dan Nilai Karakter yang Terbangun di Dalamnya. Jurnal Membaca Bahasa Dan Sastra Indonesia, 2(2), 119–126.
Walsh, K. (2018). ‘The Show Must Go On’: Amateur Musical Theatre as a Community of Practice. Cork Institute of Technology.
Warsana, D., & Pauhrizi, E. M. (2024). Integrasi Pendekatan Teater dalam Pembelajaran Seni Pemeranan Untuk Mahasiswa Film: Studi Kasus pada Metode Stanislavsky dan Games and Exercise. Dance and Theatre Review, 7(2), 70–87. https://doi.org/https://doi.org/10.24821/dtr.v7i2.13905
Whitaker, N. (2016). Student-Created Musical as a Community of Practice: A Case Study. Music Education Research, 18(1), 57–73.
Wibisono, F. G., & Hidajad, A. (2018). Metode Pelatihan Keaktoran Pada Ekstrakurikuler Teater Dekik SMAN 1 Kraksaan. Solah, 8(1).
Wilyanti, L. S. & L. (2020). Pengembangan Bahan Ajar Video Tutorial Materi Olah Vokal pada Mata Kuliah Drama. Pena : Jurnal Pendidikan Bahasa Dan Sastra, 10(1), 37–47.
Yekanians, S. (2019). “When You Cry You Really Cry ”: Playing with Actors ’ Emotions. Fusion Journal, 15(15), 154–163.
Alfianti, D., Mangkurat, U. L., & Author, C. (2022). Tinjauan Performance Measurement pada Pengelolaan Produksi Pementasan Teater. Imaji, 21(1), 81–94.
Alfirdaus, M. M. (2023). Pembelajaran Pemeranan untuk Pemula dengan Menggunakan Teknik KILPOI. GETER: Jurnal Seni Drama, Tari Dan Musik, 6(1), 86–92. https://doi.org/https://doi.org/10.26740/geter.v6n1.p86-92
Arisyanto, P., & Budiman, M. A. (2023). Pelaksanaan Program Praktisi Mengajar pada Mata Kuliah Seni Tari dan Drama di Prodi PGSD UPGRIS. Seminar Pendidikan Nasional (SENDIKA).
Atabay, A. (2025). The Natural Component in the Training of the Puppeteer-Actor. Concept, 31(2), 93–112.
Barba, E., & Savarese, N. (2003). A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Routledge.
Clare, Y. (2016). Stanislavsky’s System as an Enactive Guide to Embodied Cognition? Connection Science, 29(1), 43–63. https://doi.org/https://doi.org/10.1080/09540091.2016.1271397
Daroy, A. (2025). From Stanislavsky’s System to Ecosystem: Biophilic Pattern Analysis as Eco-Cognitive Performance Practice. Stanislavski Studies, 13(1), 17–37. https://doi.org/https://doi.org/10.1080/20567790.2025.2461511
Denzin, N. K., & Lincoln, Y. S. (2011). The Sage Handbook of Qualitative Research: Fifth Edition. Sage Publications.
Dharma, B., & Sutardi, E. (2025). Beyond the Role: A Body-Based Approach to Acting, Imagination, and Inner Motives in Actor Training: Melampaui Peran: Pendekatan Keaktoran Berbasis Tubuh, Imajinasi, dan Motif Batin dalam Pelatihan Aktor. GETER: Jurnal Seni Drama, Tari Dan Musik, 8(2), 36–45. https://doi.org/https://doi.org/10.26740/geter.v8n2.p36-45
Irianto, I. S., Gustyawan, T., & Handayani, L. (2023). Implementation of Vocal Training Methods from the Stanislavski System in the Kanti Becakap. Gondang: Jurnal Seni Dan Budaya, 7(1), 160–171.
Iswantara, N. (2016). Drama: Teori dan Praktik Seni Peran. Media Kreatifa.
Kozma, G. V. (2022). Actor Training as a Method of Directors. Training in Context of the Odin Teatret’s Creative Work and Higher Education. Studia Universitatis Babes-Bolyai-Dramatica, 67(2), 29–45.
Li, D., & Zhu, L. (2026). Integrating Gestalt Therapeutic Techniques Enhances Character Portrayal in Undergraduate Acting Students. Frontiers in Psychology, 17, 1697077. https://doi.org/https://doi.org/10.3389/fpsyg.2026.1697077
Miles, M. B., Huberman, A. M., & Saldaña, J. (2014). Qualitative Data Analysis: A Methods Sourcebook (3rd ed.). Sage Publications.
Muslim, M., Damayanti, E., & Diceng, D. (2022). Pelatihan Dasar Drama Pada Mahasiswa Pendidikan Bahasa Dan Sastra Indonesia Universitas Muhammadiyah Buton. ,. Sejahtera: Jurnal Inspirasi Mengabdi Untuk Negeri, 1(4), 20–25.
Musolino, R. (2025). Embodiment, Hybridity, and Habit: the Stick as an Actor Training Tool. Theatre, Dance and Performance Training, 16(1), 65–81. https://doi.org/https://doi.org/10.1080/19443927.2024.2444634
Pramasheilla, D. A. A. (2021). Upaya Guru Dalam Proses Kreatif Teater Anak Usia Tk Di Art for Children Yogyakarta. Gondang: Jurnal Seni Dan Budaya, 5(2), 174. https://doi.org/10.24114/gondang.v5i2.28175
Rahman, A., Mawar, M., Bariyah, O. N., & Setyaningrum, I. (2022). Sosialisasi Kebijakan Kampus Merdeka Program Praktisi Mengajar pada Perguruan Tinggi Penyelenggara Pendidikan Vokasi. Bubungan Tinggi: Jurnal Pengabdian Masyarakat, 4(4), 1248–1256.
Rumadi, H. (2016). Pemeranan Teater Mahasiswa Angkatan 2012 Pada Pembelajaran Teater: Studi Deskriptif Analitis. Akrab Juara: Jurnal Ilmu-Ilmu Sosial, 1(1), 120–134.
Santosa, E. (2008). Seni Teater Jilid 2. Direktorat Pembinaan Sekolah Menengah Kejuruan.
Stephen-Adesina, A. A. (2024). Lessac Kinesensic Training as an Embodied Learning Model in Undergraduate Actor Training: the Nigerian Example. International Journal of Current Research in the Humanities, 28(1), 302–315. https://doi.org/https://doi.org/10.4314/ijcrh.v28i1.21
Vanacova, S. A. A. (2025). Pembelajaran Kesenian Reog Wayang Berbasis Transgenerasional Pada Komunitas Kridha Beksa Lumaksana Mangiran, Bantul Daerah Istimewa Yogyakarta. Skripsi, Institut Seni Indonesia Yogyakarta.
Virkkula E. (2016). Communities of Practice in the Conservatory: Learning with a Professional Musician. British Journal of Music Education, 33(1), 27–42. https://doi.org/10.1017/S026505171500011X
Wahid, F. I. (2017). Proses Kreatif Berteater pada Mahasiswa dan Nilai Karakter yang Terbangun di Dalamnya. Jurnal Membaca Bahasa Dan Sastra Indonesia, 2(2), 119–126.
Walsh, K. (2018). ‘The Show Must Go On’: Amateur Musical Theatre as a Community of Practice. Cork Institute of Technology.
Warsana, D., & Pauhrizi, E. M. (2024). Integrasi Pendekatan Teater dalam Pembelajaran Seni Pemeranan Untuk Mahasiswa Film: Studi Kasus pada Metode Stanislavsky dan Games and Exercise. Dance and Theatre Review, 7(2), 70–87. https://doi.org/https://doi.org/10.24821/dtr.v7i2.13905
Whitaker, N. (2016). Student-Created Musical as a Community of Practice: A Case Study. Music Education Research, 18(1), 57–73.
Wibisono, F. G., & Hidajad, A. (2018). Metode Pelatihan Keaktoran Pada Ekstrakurikuler Teater Dekik SMAN 1 Kraksaan. Solah, 8(1).
Wilyanti, L. S. & L. (2020). Pengembangan Bahan Ajar Video Tutorial Materi Olah Vokal pada Mata Kuliah Drama. Pena : Jurnal Pendidikan Bahasa Dan Sastra, 10(1), 37–47.
Yekanians, S. (2019). “When You Cry You Really Cry ”: Playing with Actors ’ Emotions. Fusion Journal, 15(15), 154–163.
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