{"id":9748,"date":"2019-08-13T00:56:37","date_gmt":"2019-08-12T17:56:37","guid":{"rendered":"https:\/\/arkipel.org\/?p=9748"},"modified":"2019-08-23T23:26:06","modified_gmt":"2019-08-23T16:26:06","slug":"the-performativity-of-actorship-within-spaces-of-reality","status":"publish","type":"post","link":"https:\/\/arkipel.org\/the-performativity-of-actorship-within-spaces-of-reality\/","title":{"rendered":"The Performativity of Actorship within Spaces of Reality"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565631240568{margin-bottom: 0px !important;}”]\n
Host: Anggraeni Widhiasih<\/strong><\/p>\n Friday, August 23, 2019 | 19:30 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565631259462{margin-bottom: 0px !important;}”]Di dua masyarakat yang berbeda, dua pemerintahan yang berbeda, dua negara yang berbeda, dua benua yang berbeda, ruang publik dipertanyakan dengan dua cara yang berbeda pula; yang satu sinematis, yang satu serba politik. Tetapi keduanya sama-sama menawarkan suatu polemik tentang siapa yang berandil membentuk realitas di ruang publik: apakah mereka yang hadir di depan kamera, di belakang kamera atau di hadapan layar?<\/p>\n Dalam situasi kontemporer, bangunan realitas terdiri dari kepingan informasi yang terserak di berbagai lini media massa. Para aktor hadir sebagai tokoh atau karakter yang mampu menghadirkan suatu daya tektonik yang membentuk lanskap realita di sebuah sistem, baik dengan memainkan peran maupun membentuk atau merusak suatu tatanan realitas. Keaktoran muncul sebagai sebuah konsep performatif yang bekerja di dalam bingkai sinema dan dalam kenyataan sehari-hari.<\/p>\n Mengambil perlintasan antara komunikasi massa yang politis dan yang sinematis, filem-filem dalam kompilasi ini memantik pertanyaan-pertanyaan tentang bagaimana keaktoran membentuk realitas di ruang publik, baik di dalam maupun di luar filem. Sinema, dalam hal ini, bisa memosisikan diri sebagai stimulan dan amunisi pikiran dengan berlaku menjadi informatif maupun kritis, seperti yang terjadi pada Tupinamba Lambido<\/em>. Dalam filem tersebut, ruang publik dibentuk oleh kepentingan berbagai aktor yang memainkan perannya dalam proses demokrasi dan politik. Performativitas keaktoran hadir sebagai sebuah konsep ketimbang sebagai kehadiran yang konkret dalam filem. Baik secara ide maupun secara fisik, ruang publik menjadi wilayah pertarungan politik untuk menyampaikan suara-suara para aktor.<\/p>\n Tetapi di sisi lain, sinema pun mampu melontarkan sebuah dilema akan suatu kenyataan melalui kehadiran ambiguitas kenyataan filem dan kenyataan si tokoh dalam filem, seperti yang terjadi pada The Satan\u2019s Horn. <\/em>Di sana, ketokohan subjek filem hadir bersama dengan suaranya yang menjelma sebagai aparatus media massa yang berkelindan dengan suara-suara yang diproduksi oleh industri musik maupun iklan komersial. Keaktorannya dalam filem tiba-tiba bertemu dengan realitas keaktoran yang bukan filem dalam garis batas yang kabur. Alih-alih membentuk realitas ideal seperti yang kerap dilakukan moda komunikasi dalam industri, keaktoran dalam filem ini justru dijadikan sebagai pemantik untuk mempertanyakan kembali realitas yang telah dikonstruksinya. Performativitas keaktoran dan kehadiran moda komunikasi dalam narasi filem ini memantik imajinasi penonton hingga ke batas antara yang nyata dan yang rekaan.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565631277937{margin-bottom: 0px !important;}”]In two different societies, two different governments, two different countries, two different continents, public spaces are questioned in two different ways; the first one politically, and the second one cinematically. But both of them offer a polemic about who contributes to shape reality in public spaces: are they present in front of the camera, behind the camera or in front of the screen?<\/p>\n In contemporary situations, the form of reality consists of pieces of information scattered on mass media. Actors have existed as figures or characters capable of presenting tectonic energy that shapes the reality landscape in a system, either by playing a role or shaping\/ destroying an order of reality. Actorship appears as a performative concept that works within the perspective of cinema and in everyday reality.<\/p>\n Crossing the border between political and cinematic mass communication, the films in this compilation spark questions about how actorship forms reality in public spaces, both inside and outside the films. Cinema, in this case, can position itself as a stimulant and ammunition for the mind, for example by being informative and critical, as demonstrated by Tupinamba Lambido.<\/em> In that film, the public space is shaped by the interests of various actors who play their roles in democratic and political processes. The performativity of actorship appears as a concept rather than a concrete form in the film. The public space, both in terms of ideas and physical presence, becomes a political battleground to communicate the voices of the actors.<\/p>\n But aside from that, cinema is also able to whip up a dilemma upon reality through the presence of ambiguity of the filmic reality and the reality of characters in a film, as demonstrated by The Satan’s Horn<\/em>. The film features the figure of its subject through his voice, which is transformed as an apparatus of mass media and is intertwined with the voices produced by the music industry and commercial advertising. His actorship in the film is suddenly converged with the reality of non-film actorship into a blurred line. Instead of forming an ideal reality as often produced by communication modes from those industries, the actorship in that film is actually used as a trigger to question the reality that it has constructed. The performativity of actorship and the mode of communication in the narrative of the film ignite the audience\u2019s imagination up to the limit between the real and the fiction.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9400″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565631361262{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0<\/em>Lucas Parente<\/strong> (Brazil) 10 min 49 sec, stereo, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565631378242{margin-bottom: 0px !important;}”]Situasi politik di sebuah negara dibuka dengan montase gambar ritual kanibalistik. Sementara itu, alat komunikasi massa \u2013 baik pada dinding maupun pada sinema \u2013 nampak hadir sebagai ruang pertarungan bagi para aktor dalam proses sosial-politik. Tupinamb\u00e1 Lambido adalah sebuah kelompok seniman poster wheatpaste<\/em> yang memproduksi visual di dinding-dinding kota Rio de Janeiro dalam rangka advoksi demokrasi. Ia sekaligus adalah judul sebuah dokumenter yang bekerja dengan kerangka tujuan sejalan dengan aksinya di luar bingkai sinema. Ia menawarkan stimulan kritis tentang sebuah realitas politik, baik dengan menjadi tribut ataupun sebagai kumpulan ingatan tentang berbagai peristiwa politik yang menandai perubahan era di sebuah negara.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565631394491{margin-bottom: 0px !important;}”]A montage of cannibalistic ritual\u2019s image opens up a narrative about the political situation in a country. Meanwhile, a mass communication instrument \u2013 both on the wall and the cinema \u2013 appears as a battlefield for actors in the socio-political process. Tupinamb\u00e1 Lambido is a group of wheatpaste poster artists who produce visuals on the walls of Rio de Janeiro to advocate democracy. It is also a title for a documentary film that serves a similar purpose as its actions beyond the frame of cinema. It offers a critical stimulant about political reality, both by playing the role as a tribute or a set of memories about numerous political occurrence marking the turn of an era in a country.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9751″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565632053809{margin-bottom: 0px !important;}”]Lucas Parente<\/strong><\/em> lulus dari jurusan Sejarah dari Fluminense Federal University<\/em>. Ia juga menerima gelar master dalam jurusan filem dokumenter di Autonomous University of Barcelona<\/em> dan dari jurusan filsafat di University of Paris 8 Vincennes-Saint-Denis<\/em>. Dalam berbagai kesempatan, karya-karyanya telah dipresentasikan dan menerima penghargaan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565632066842{margin-bottom: 0px !important;}”]Lucas Parente <\/strong><\/em>graduated in history from the Fluminense Federal University, master in documentary film at the Autonomous University of Barcelona and philosophy at the University of Paris 8 Vincennes-Saint-Denis. His works have been awarded and exhibited in many occasions.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565627063299-bf510960-5bb5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9752″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565632255722{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0<\/em>Mohammad Hadi Ghorbani<\/strong> (Iran) 62 min, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1566577545942{margin-bottom: 0px !important;}”]Imaji<\/span><\/span>\u00a0yang\u00a0<\/span><\/span>diperoleh<\/span><\/span>\u00a0<\/span><\/span>Rasoul<\/span><\/span>\u00a0<\/span><\/span>Soheylifard<\/span><\/span>\u00a0<\/span><\/span>tentang<\/span><\/span>\u00a0<\/span><\/span>keidealan<\/span><\/span>\u00a0<\/span><\/span>duniawi-surgawi<\/span><\/span>\u00a0yang\u00a0<\/span><\/span>digaungkan<\/span><\/span>\u00a0<\/span><\/span>lewat<\/span><\/span>\u00a0<\/span><\/span>berbagai<\/span><\/span>\u00a0media\u00a0<\/span><\/span>massa<\/span><\/span>\u00a0\u2013<\/span><\/span>\u00a0<\/span><\/span>seperti<\/span><\/span>\u00a0<\/span><\/span>melalui<\/span><\/span>\u00a0<\/span><\/span>lagu-lagu<\/span><\/span>\u00a0<\/span><\/span>cinta<\/span><\/span>\u00a0dan\u00a0<\/span><\/span>iklan<\/span><\/span>\u00a0di TV<\/span><\/span>\u00a0\u2013<\/span><\/span>\u00a0<\/span><\/span>terasa<\/span><\/span>\u00a0<\/span><\/span>kontras<\/span><\/span>\u00a0<\/span><\/span>dengan<\/span><\/span>\u00a0<\/span><\/span>realitas<\/span><\/span>\u00a0yang\u00a0<\/span><\/span>dijalaninya<\/span><\/span>\u00a0<\/span><\/span>sebagai<\/span><\/span>\u00a0<\/span><\/span>pedagang<\/span><\/span>\u00a0<\/span><\/span>barang-barang<\/span><\/span>\u00a0<\/span><\/span>tersier<\/span><\/span>.\u00a0<\/span><\/span>Sehari-hari<\/span><\/span>,\u00a0<\/span><\/span>ia<\/span><\/span>\u00a0<\/span><\/span>harus<\/span><\/span>\u00a0<\/span><\/span>bernegosiasi<\/span><\/span>\u00a0<\/span><\/span>dengan<\/span><\/span>\u00a0<\/span><\/span>aparat<\/span><\/span>\u00a0<\/span><\/span>ataupun<\/span><\/span>\u00a0<\/span><\/span>warga<\/span><\/span>\u00a0<\/span><\/span>lain<\/span><\/span>,\u00a0<\/span><\/span>selagi<\/span><\/span>\u00a0<\/span><\/span>menjadikan<\/span><\/span>\u00a0<\/span><\/span>dirinya<\/span><\/span>\u00a0<\/span><\/span>sebagai<\/span><\/span>\u00a0media\u00a0<\/span><\/span>untuk<\/span><\/span>\u00a0<\/span><\/span>berkomunikasi<\/span><\/span>\u00a0<\/span><\/span>dengan<\/span><\/span>\u00a0<\/span><\/span>massa<\/span><\/span>.\u00a0<\/span><\/span>Melalui<\/span><\/span>\u00a0<\/span><\/span>corak<\/span><\/span>\u00a0<\/span><\/span>sinema<\/span><\/span>\u00a0yang\u00a0<\/span><\/span>mempertanyakan<\/span><\/span>\u00a0<\/span><\/span>filem<\/span><\/span>\u00a0<\/span><\/span>melalui<\/span><\/span>\u00a0<\/span><\/span>filem<\/span><\/span>,\u00a0<\/span><\/span>sebuah<\/span><\/span>Tupinamb\u00e1 Lambido<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0Tupinamb\u00e1 Lambido
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Brazil
\n<\/strong>Language<\/em>\u00a0\u00a0Portuguese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\nThe Satan\u2019s Horn<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0The Satan\u2019s Horn
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Iran
\n<\/strong>Language<\/em>\u00a0\u00a0Persians
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n