Tugas Sofskills semester 7 #CALL

Apa itu matakuliah Pengkajian Drama Ingrris ?

1. Pengertian Drama

Kata ‘drama’ berasal dari kata Greek (bahasa Yunani)’draien’, yang diturunkan dari kata ‘draomai’, yang semula berarti berbuat, bertindak, dan beraksi. Selanjutnya kata drama mengandung arti kejadian, risalah, dan karangan. Panuti Sujiman (editor), dalam “Kamus istilah Sastra” (1984: 20) memberi batasan ‘drama’ adalah karya sastra yang bertujuan menggambarkan kehidupan dengan mengemukakan tikaian atau konflik dan emosi lewat lakuan dan dialog, dan lazimnya dirancang untuk pementasan di panggung.

Herymawan RMA dalam “Dramaturgi” Bagian Ke I merumuskan pengertian drama berdasarkan beberapa pendapat, yaitu: (1) drama adalah kualitas komunikasi, situasi, aksi, yang menimbulkan perhatian, kehebatan, dan tegangan pada pendengar atau penonton, (2) menurut Moultan “Drama” adalah kehidupan yang dilukiskan dengan gerak, (3) drama adalah ceritera konflik manusia dalam bentuk dialog, yang diproyeksikan pada pentas, yang menggunakan bentuk cakapan dan gerak atau penokohan perwatakan di hadapan penonton.

2. Pengertian Teater

Kata ‘teater’ juga berasal dari bahasa Yunani, Teatron yang diturunkan dari kata ‘theomai’, yang berarti takjub melihat, memandang. Jadi jelas, jika kita berbicara tentang ‘teater’, sebanarnya kita bicarakan soal proses kegiatan dari lahirnya, penggarapan, penyajian, atau pementasan smpai dengan timbulnya tanggapan atau reaksi penonton atau public. Dengan kata lain, teater memiliki arti yang lebih luas, sekaligus menyangkut seluruh kegiatan dan proses penjadian dari proses penciptaan, penggarapan, penyajian atau pementasan, dan penikmatan.

3. Pengertian Seni Drama dan Teater

Drama adalah jenis sastra di samping jenis puisi dan prosa. Hakikat drama adalah konflik atau tikalan. Karena sastra termasuk cabang kesenian, maka drama merupakan bentuk kesenian juga. Drama sering disebut seni pertunjukan. Teater adalah istila lain dari drama, tetapi dalam arti yang lebih luas; yakni meliputi; proses pemilihan naskah, penafsiran, penggarapan, penyajian/pementasan, dan proses pemahaman atau penikmatan dari publik.

4. Hakikat, Fungsi, dan Sifat Seni Drama dan Teater

1. Hakikat Seni Drama dan Teater.

Yang dimaksud ‘hakikat’ di sini juga sesuatu yang ‘esensial’ (yang hakiki, yang harus ada). Hakikat drama adalah ‘tikaian’ atau ‘konflik’. Perwujudannya dalam teater dapat berupa gerak, cakapan (baik dialog maupun monolog) atau penokohan. Tikaian ini dapat berupa; tikaian yang terjadi antara manusia dengan manusia, manusia dengan binatang, yang terjadi antra individu dengan individu lain, dlll.

2. Fungsi Seni Drama dan Teater.

Fungsi drama dan teater pada umumnya dan khusunya adalah harus berguna dan menyenangkan. Maksudnya, disamping berfungsi sebagai penghibur, seni ini juga bermanfaat, artinya dapat member ‘sesuatu’ kepada penikmatnya. ‘Sesuatu’ itu dapat berupa pengetahuan, pendidikan, pengajaran, penerangan, dll.

3. Sifat Seni Drama dan Teatar.

Berdasarkan kurikulum 1975 dan 1984, seni drama dan teater merupanakan subbidang kesenian. Penempatan, Pengkajian Puisi, Pengkajian Cerkam Pengkajian Drama, serta Seminar Puisi memberi indikasi bahwa puisi, ragam sastra, tetapi bidang studi sastra yang berdiri sendiri. Sebagai salah satu jenis sastra dan salah satu bdiang kajian sastra, drama memiliki kelebihan jika dibandingkan dengan dua jenis atau bidang studi sastra lainnya yaitu puisi dan prosa. Kelebihan terletak pada sifatnya yang lebih objektif, kolektif, kompleks dan multikontekstual. Itulah sebabnya seni drama dan teater juga ‘seni objektif’, ‘seni kolektif’, ‘seni ansambel’, ‘seni kompleks’, dan ‘seni multikontekstual’.

5. Hubungan Seni Drama dan Teater dengan Cabang-cabang Seni lainnya

Seni drama dan teater merupakan seni yang sekaligus kompleks, hampir semua cabang seni ada di dalamnya. Sebuah drama dan teater bagai cermin tanpa bingkai. Keduanya menggambarkan gerak kehidupan. Adapun cabang-cabang seni yang berfungsi sebagai pendukung dan penunjang berhasil tidaknya sebuah pementasan drama antara lain:

1. Seni Bahasa dan Sastra
2. Seni gerak (acting)
3. Seni Rias ( make-up)
4. Seni Busana (costum)
5. Seni Dekorasi (scenery)
6. Seni Suara dan Musik
7. Seni Tata Lampu (lighting)
8. Seni Tari dan Koreografi
9. Seni Rupa
10. Seni Pentas,dll.

 

Article about CALL

 What the meaning Computer Aided Language Learning ( CALL ) ?
  
CALL’s origins and development trace back to the 1960’s and since has consisted of a symbiotic relationship between development of technology and pedagogy.  Its development can be divided into three phases: behavioristic CALL, communicative CALL and integrative /exploratative CALL. 
Behavioristic CALL is defined by the then-dominant behavioristic theories of learning of Skinner as well as the technological limitations of computers from the 1960’s to the early 1980’s. Up to the late 1970’s, CALL was confined to universities where programs were developed on big mainframe computers, like the PLATO project, initiated at the University of Illinois in 1960. Because repeated exposure to material was considered to be beneficial or even essential, computers were considered ideal for this aspect of learning as the machines did not get bored or impatient with learners and the computer could present material to the student as his/her own pace and even adapt the drills to the level of the student. Hence, CALL programs of this era presented a stimulus to which the learner provided a response. At first, both could be done only through text. The computer would analyze errors and give feedback. More sophisticated programs would react to students’ mistakes by branching to help screens and remedial activities. While such programs and their underlying pedagogy still exist today, to a large part behavioristic approaches to language learning have been rejected and the increasing sophistication of computer technology has lead CALL to other possibilities.
Communicative CALL is based on the communicative approach that became prominent in the late 1970’s and 1980’s. In the communicative approach, the focus is on using the language rather than analysis of the language, teaching grammar implicitly. It also allowed for originality and flexibility in student output of language. It also correlates with the arrival of the PC, making computing much widely available resulting in a boom in the development of software for language learning. The first CALL software in this phase still provided skill practice but not in a drill format, for example, paced reading, text reconstruction and language games but computer remained the tutor. In this phase, however, computers provided context for students to use the language, such as asking for directions to a place. It also allowed for programs not designed for language learning, such as Sim City, Sleuth and Where in the World in Carmen Sandiego? to be used for language learning. However, criticisms of this approach include using the computer in an ad hoc and disconnected manner for more marginal rather than the central aims of language teaching. It will usually taught skills such as reading and listening in a compartmentalized way, even if not in a drill fashion.
Integrative/exploratative CALL, starting from the 1990’s, tries to address these criticisms by integrating the teaching of language skills into tasks or projects to provide direction and coherence. It also coincides with the development of multimedia technology (providing text, graphics, sound and animation) as well as computer-mediated communication. CALL in this period saw a definitive shift of use of computer for drill and tutorial purposes (computer as a finite authoritative base for a specific task) to a medium for extending education beyond the classroom and reorganizing instruction. Multimedia CALL started with interactive laser videodiscs such as “Montevidisco” (Schneider & Bennion 1984) and “A la rencontre de Philippe” (Fuerstenberg 1993)… all of which were simulations of situations where the learner played a key role. These programs later were transferred to CD-ROMs.
In multimedia programs, listening is combined with seeing, just like in the real world. Students also control the pace and the path of the interaction. Interaction is in the foreground but many CALL programs also provide links to explanations simultaneously. An example of this is Dustin’s simulation of a foreign student’s arrival to the U.S. Programs like this led also to what is called exploratative CALL. More recent research in CALL has favored a learner-centered exploratative approach, where students are encouraged to try different possible solutions to a problem, for example the use of concordance programs in the language classroom. This approach is also described as data-driven learning.

http://elt.wikia.com/wiki/Computer_assisted_language_learning