EKSPERIMENTASI METODE PENCIPTAAN TEATER BERBASIS PENGALAMAN AKTOR DALAM PERTUNJUKAN MONOLOG

Abstract

This study aims to describe and analyze an experimental theater-making method that positions the actor’s experience as a primary source of the creative process in a monologue performance. The research problem emerged from the researcher’s experience as an actor who frequently encountered production practices in which scripts and directors became the main centers of decision making, limiting the actor’s space to develop personal interpretation, experience, imagination, and expression. The study employed a qualitative approach oriented toward artistic creation, psychological reflection, dramatic construction, and critical analysis. Data were derived from the researcher’s theatrical experiences, observations of acting processes and performer behavior, and documentation in the form of photographs, videos, and process notes. Stanislavsky’s acting perspective and Grounded Theory were used as analytical lenses to examine the relationship between experience, interaction, character formation, and dramatic construction. The findings indicate that an actor’s experience can become a source of ideas, imaginative material, and a foundation for character development when combined with dramatic analysis and psychological reflection. In the characterization process of Irma and Bungong, identification with the characters was developed through an understanding of their backgrounds, motivations, conflicts, and emotional experiences. The process demonstrates that actors do not merely execute directions but actively participate in constructing the meaning of a performance. This experimentation therefore provides a creation model that gives greater space to experience, imagination, interaction, and actor reflection as integral components of theatrical construction.