AKTOR: Membebaskan Tubuh yang Teralienasi

Abstract

Abstract In this article, fundamental issues regarding actorhood are discussed. The questions that are the focus to be answered are internal and external factors; What must an actor understand and master? Are there any acting paradigms that seem different in concept and methodology? Lastly, is the actor someone who always liberates himself from the confines of his role in everyday life? These three questions will be answered using qualitative methods, through theoretical literature searches. There are several findings obtained from this research, namely: actors are the most important element in theater. Everything can be removed from a theatrical performance, except the actor element which cannot be lost. To become a good actor, there are two basic elements that an actor must master, namely internal elements and external elements. Internal elements are elements that exist within the actor, such as body, voice and soul; while external elements are elements that are outside the actor, such as the drama script, stage, playmates, director and so on. There are two paradigms in acting, namely the paradigm of being and the paradigm of playing. The becoming paradigm is a paradigm that assumes that when an actor plays a character, that actor must "become" the character he plays. Meanwhile, in the playing paradigm, acting does not need to be, but the actor must distance himself from the character he plays. Philosophically, actors can be seen as humans who always rebel against the roles they play in everyday life. He doesn't want to be framed in the same role box. Actors always want to be anything, even though it is actually in vain, because every human being cannot avoid the role categories that have been assigned socially by society. Keywords: Actor, external factors, internal factors, body, "being" paradigm, "playing" paradigm.