Wednesday 25 December 2013

Camna Ek Nak Berlakon? / How To Act?

Bagaimana hendak berlakon?
Bagi pelakon baru yang no idea atau blur tentang bagaimana nak mulakan proses lakonan, boleh rujuk
apa yang aku nak sampaikan ni. Aku akan usulkan fasa-fasa atau proses biasa yang harus dan akan dilalui oleh seorang pelakon secara formal. Penting bagi pelakon baru yang masih tercari-cari cara untuk kick-start. Dan tak berapa penting untuk pelakon yang dah tahu atau memang dah ada rules dan ritual sendiri.

1. Fasa Pra produksi
-analisis skrip
-kajian lakonan / acting research

2. Fasa Latihan / during rehearsal
-script reading
-physical training
-emotional training
-acting training : memories and understand,warm ups, voice training, pembinaan karakter dan stage business
-props
-kostum
-lighting, set, sound, dan smell

3.Fasa Produksi / production time
-conserve energy:dapatkan rehat yang cukup fizikal & mental
-feel and conquer the stage: minimize the stage fright syndrome
-kosentrasi dan fokus:improvise atau ad-lips kalau terpaksa dan untuk tujuan penyampaian yang meyakinkan. Contohnya macam ketawa, batuk,  bersin, menangis, tepuk tangan...etc.
-pembinaan karakter dalam persembahan

4. Fasa Pos Produksi/ Post production
-analisa review  bahagian lakonan:artikel atau verbal
-understanding the dynamics
of the acting ensemble, stage crews,venue,local audiences in assessing your progress
-cleanse the character slowly/ keluar dari watak

Ok...itulah fasa-fasa yang harus dilalui oleh seseorang pelakon secara ringkasnya. Apa yang aku sampaikan ni list mengikut tertib. Dalam satu-satu bahagian itu juga wujud cabang-cabang rutin yang lebih kompleks.
But its okay...This is just a short brief. Nak tahu lebih lanjut boleh tanya kat ruangan komen or tunggu entry-entry seterusnya.

*entry ni memang bahasa rojak coz aku tulis secara santai. Ok kot... boleh faham kot.





Friday 14 June 2013

Proses Casting (Bahagian 1) - 'The Star System'

Salah satu proses yang harus dilalui oleh seseorang pengarah sebuah pementasan teater adalah proses pemilihan pelakon. Proses ini seringkali juga disebut sebagai 'casting'. Proses ini dilakukan dalam pelbagai cara, bentuk, pengisian, dan aktiviti. Ia bergantung kepada individu yang mengendalikan proses pemilihan pelakon ini. Bagi sebuah produksi teater yang besar atau 'theatre company' misalnya; mereka lazimnya melantik 'Casting Manager' atau 'Talent Manager' bagi pihak mereka untuk menjalankan proses ini dari awal hingga akhir. Namun begitu, keputusan akhir terhadap pelakon yang dipilih biasanya akan berbalik jua kepada pihak penerbit dan pengarah setelah penilaian dibuat terhadap faktor-faktor lain melibatkan pementasan yang akan dijalankan.

Ada dua sistem utama yang dijalankan dalam proses 'casting' iaitu 'the star system' dan juga 'the type-casting'. Singkatan yang biasa digunakan adalah 'Star-cast' dan 'Type-cast'.

'The star system' merujuk kepada sistem pemilihan pelakon yang berpandukan kepada nama, persona, dan pasaran terhadap pelakon yang dipilih. Maksudnya di sini, 'star-cast' adalah sistem pemilihan pelakon yang hanya mengambilkira tahap keterbolehan jual seseorang pelakon itu di pasaran. Pendek kata, asal pelakon yang datang proses 'casting' itu boleh 'dijual', maka dialah yang akan dipilih. Ada sesetengah pelakon tidak perlu datang proses 'casting' pun; dia sudah akan dipilih oleh penerbit kerana diyakini boleh menaikkan jualan tiket persembahan. Pemilihan cara inilah yang disebut sebagai 'star-cast'.

'Star-cast' jika tidak keterlaluan, saya labelkan sebagai satu sistem yang ada asas kapitalisme berbanding nilai artistik. Ia hanya berpaksi kepada soal penerimaan audien terhadap seseorang pelakon itu sahaja. Apa yang orang suka, itulah yang kita jual. Sehinggakan kadangkala pelakon yang dipilih itu langsung tidak sesuai atau tidak mampu melakonkan karakter dengan baik. Dalam industri teater di Malaysia misalnya, sebagai contoh; ada sebuah produksi teater muzikal mensasarkan kutipan jualan tiket yang tinggi. Salah satu cara bagi mencapai sasaran itu adalah dengan memberikan peranan utama dalam teater muzikal itu kepada seseorang pelakon yang sudah ada nama dan dikenali atas tujuan menarik minat audien datang menyaksikan teater tersebut. Biasanya yang terjadi, mereka akan memilih pelakon filem atau televisyen berbanding pelakon teater sendiri.

Pemilihan ini dibuat berdasarkan persona, nama, dan tarikan yang dibawa pelakon itu walaupun dia bukanlah pelakon yang arif dengan pentas teater dan lakonannya akan kelihatan kaku. Itulah yang dipanggil 'star-cast'. Nilai 'rating' yang dibawa pelakon itu lebih tinggi daripada bakatnya. Walaupun adakalanya pelakon 'star' yang dipilih itu memang berbakat, tetapi 'star-cast' ini lebih merujuk kepada perspektif individu yang memilih; yang mendahulukan nilai 'rating' berbanding bakat pelakon tersebut. Nilai 'rating' yang mempengaruhi pemilihan pelakon ini bukan sahaja dilihat atas persembahannya di atas pentas sahaja; malahan turut dipengaruhi cerita-cerita di luar pentas dan dalam kehidupan sebenar. Gosip, kehidupan peribadi, pengaruh di luar persembahan... semua ini mempengaruhi pemilihan secara 'star-cast' kerana secara tidak langsung ia akan memberi publisiti terhadap pementasan yang melibatkan pelakon tersebut. Namun harus diingat, publisiti ini juga ada dua kesan; iaitu positif dan negatif.

Selain itu, pemilihan 'star-cast' ini juga melihat kepada portfolio pelakon yang dipilih. Misal kata walaupun pelakon yang dipilih bukanlah daripada kalangan pelakon filem atau televisyen, tetapi dalam kalangan pelakon teater sendiri; ia mengambil kira portfolio pelakon tersebut. Sebagai contoh, pelakon itu sudah biasa memainkan watak-watak hero dan penonton tidak boleh terima sekiranya dia memainkan watak lain. Ataupun persembahan hanya akan mendapat sambutan sekiranya dia adalah watak utama dan bukan pelakon lain, lantas atas faktor ini penerbit memilihnya. Maka pemilihan inilah disebut sebagai 'star-cast' kerana ia berlaku berdasarkan pasaran. Ia biasanya terjadi dalam pementasan bangsawan terhadap peranan Orang Muda. Walaupun kelihatannya pemilihan sebegini seperti 'type-cast', tapi ia sedikit berbeza kerana ia lebih mengutamakan permintaan pasaran. Jenis watak pelakon tetap di tangga kedua.

Sistem 'star-cast' ini tidak hanya digunakan dalam pementasan teater tetapi dalam proses pemilihan pelakon televisyen dan filem juga. Apa yang secara peribadinya saya lihat di Malaysia ini, 'star-cast' ini turut melihat kepada rupa fizikal pelakon semata-mata dalam proses pemilihan. Apa yang biasanya berlaku, yang kacak dan cantik diberi keutamaan untuk berada dalam skrin walaupun kadangkala berlakon keras macam kayu! Sehinggakan seorang teman saya pernah berseloroh:

"Nak jadi pelakon di Malaysia ni tak perlu penat-penat buat 'degree', belajar teori lakonan, atau masuk kelas 'acting'. Cukuplah masuk Dewi Remaja, Dewa Remaja, dan AF walaupun platform tu bukan untuk jadi pelakon!"

Saya bersetuju dengan pendapat peribadi ini kadangkala apabila menyaksikan para pelakon baru yang beraksi di skrin atau layar dengan lakonan mereka yang mengecewakan. Tapi tidak mengapalah, itu cerita tentang skrin. Post kali ini saya tidak mahu menyentuh mengenai proses 'casting' bagi produksi skrin kerana ia lebih rumit dan ada menyentuh berkenaan interaksi pelakon dengan alatan teknikal semasa proses 'casting'.

Saya rasa cukuplah untuk posting saya pada kali ini berkenaan proses 'casting star system'. Saya akan lanjutkan lagi topik ini dalam bahagian kedua berkenaan sistem 'type-cast' pula.


   Teater 'Orang Minyak : Jangan Pilih Pintu Belakang arahan Kumpulan Teater
 Resdong's Pulau Pinang yang menggunakan sistem 'star-cast' dalam pemilihan pelakon.
                  
                                       

Tuesday 7 May 2013

Pementasan Teater Bukan Bunuh Diri










TAJUK  :  BUKAN BUNUH DIRI
TARIKH  :  13 & 14 Mei 2013
TEMPAT  :  PANGGUNG SASARAN, UNIVERSITI SAINS MALAYSIA
KEMASUKAN  :  RM 5

Bukan Bunuh Diri merupakan sebuah pementasan teater yang akan dipentaskan sebagai salah satu acara dalam Festival RINTIS – SHIFT yang akan berlangsung di Universiti Sains Malaysia (USM)  pada Mei ini. RINTIS adalah singkatan bagi ‘Research and Innovation Towards Integration and Sustainability’. Ia merupakan sebuah acara tahunan yang memaparkan hasil kerja  terbaik para penuntut tahun akhir Pusat Pengajian Seni, USM. Festival yang akan dirasmikan pada 21 Mei 2013 ini meliputi aktiviti seperti pameran dan persembahan dalam pelbagai lapangan kesenian seperti muzik, drama & teater, seni halus, reka bentuk grafik, reka bentuk produk, dan juga reka bentuk dalam teknologi media baru.

 Bukan Bunuh Diri merupakan pementasan teater yang kelima daripada tujuh drama yang akan dipentaskan. Ia merupakan karya daripada penulis skrip terkenal Malaysia, Dinsman; dan akan diarahkan oleh Noor Rizuwan Zolkepli, pelajar tahun akhir Bahagian Drama & Teater, Pusat Pengajian Seni, USM. Izzardzafli Padzil yang akan mendukung watak utama dalam pementasan ini turut merupakan pelajar tahun akhir Bahagian Drama & Teater dan lakonannya akan dinilai. Beliau akan digandingkan bersama pelakon-pelakon lain seperti Hilyati Ramli dan Izzati Azizan.

Bukan Bunuh Diri mengetengahkan konflik dalaman diri Adam yang membuat keputusan untuk membunuh diri dalam usahanya bertemu tuhan. Namun niatnya itu dipersoal oleh orang-orang tertentu yang sebenarnya adalah jelmaan id dalam hatinya sendiri yang mencari justifikasi dan meragui tentang keputusannya untuk membunuh diri. Apakah tindakan Adam seterusnya? 

Untuk maklumat lanjut berkenaan pementasan ini, hubungi nombor 014 2767276 (Riz) atau 013 9420028 (Ain).




 TITLE  :  BUKAN BUNUH DIRI
DATE  :  13th & 14th May 2013
VENUE  :  PANGGUNG SASARAN, UNIVERSITI SAINS MALAYSIA
ADMISSION  :  RM 5
   
Bukan Bunuh Diri is a theatre performance that will be staged in conjunction of RINTIS Festival that happening in Universiti Sains Malaysia (USM) in May. RINTIS stand for ‘Research and Innovation Towards Integration and Sustainability’. It is an annual exhibition to showcase the final year student’s best artwork in School of the Arts, USM. The festival will be inaugurated on May 21, 2013 includes a variety of events and exhibitions in the field of arts such as music, drama & theater, fine art, graphic design, product design, and design in new media technologies.

In this festival, Bukan Bunuh Diri will be the fifth theater staged out of seven plays. It is written by well known scriptwriter in Malaysia, Dinsman; and will be directed by Noor Rizuwan Zolkepli, a final year student of Drama & Theater Department School of the Arts, USM. Izzardzafli Padzil whom will play the main character in this show is also a final year student of Drama & Theater Department and his acting will be assessed. He also a theater activist in Penang and will be paired together with Hilyati Ramli and Izzati Azizan in this show.

Bukan Bunuh Diri highlight an internal conflict of Adam, in seeking the truth of his existence, decided to commit suicide in an effort to meet god. But his intention was questioned by his uncertainties and doubts in his own mind about his decision to commit suicide, which came to him in figures and clusters of images he created within his unconscious. 

For more info and tickets, please contact the number 014 2767276 (Riz) or 013 9420028 (Ain).




日期      :  2013513-14
地点      :  PANGGUNG SASARAN, UNIVERSITI SAINS MALAYSIA
入场费  :  RM 5

BukanBunuhDiri是一部将于5月间,配合槟城理科大学主办的 RINTIS Festival 活动中呈现的话剧。 RINTIS 是研究革新、统和持续性发展的简称 (Research and Innovation Towards Integration and Sustainability)。这是一项年度展览会,以展示理科大学艺术系准毕业生的最佳美术作品。该项RINTIS Festival活动将会于 2013 5 21日推展,其中包括了一连串的活动与展览,如:音乐、话剧及戏剧、美术设计、图像设计、产品设计、新媒体工业设计。

在该项节庆活动中,BukanBunuhDiri是由马来西亚著名的编剧Dinsman编写,而将由理科大学话剧与戏剧部门的准毕业生Noor RizuwanZolkepli指导。来自同样科系IzzardzafliPadzil是槟城戏剧圈的活跃分子。他将会饰演该话剧的男主角。此外,将和他同台演出的有HilyatiRamliIzzatiAzizan

BukanBunuhDiri是讲述一位名为Adam 在寻找他生存意义的内心挣扎与矛盾。最终他决定以自杀来会见上帝。但他突然对自杀的打算而感到疑惑与不肯定。他的疑惑不知不觉中演变成内心所产生的影像,而他连续多次地与影像对话。预知故事的结局,请到演出地点观赏此话剧。

售票详情请联络014 2767276 (Riz).





Sunday 24 March 2013

APLIKASI SEMIOTIK & RESEPSI TERHADAP ‘PERFORMANCE’ TERPILIH (WAYANG WONG INDONESIA )


APLIKASI  SEMIOTIK  &  RESEPSI  TERHADAP  ‘PERFORMANCE’  TERPILIH
(WAYANG WONG INDONESIA ) 







TEORI SEMIOTIK

ž  Sebuah teori mengenai lambang yang dikomunikasikan untuk menyampaikan makna.
ž  Perintis teori ini ialah Ferdinand de Saussure – pengkaji bahasa Switzerland & Charles Sanders
 Pierce – ahli falsafah A.S.

ž  Sistem tanda ada 2 jenis :
  1. Tanda semulajadi
  2. Tanda artificial

ž  C.S Pierce kemuka 3 jenis lambang :

v  Ikon – lambang yang serupa dengan 
                benda diwakilinya
v  Indeks – lambang yang dihubungkait
                    dengan benda diwakilinya
v  Simbol – dikenalpasti secara terus 
                     melalui pemahaman kod


TEORI RESEPSI

Sebuah teori cara membaca & mentafsir teks persembahan. 
Cara penafsiran makna teks persembahan berbeza berpandukan – pengalaman, latar sosial, psikologikal, emosi, pendidikan.
Makna mudah dijelma dari respon audien aktif.

SEMIOTIK & RESEPSI DALAM WAYANG WONG INDONESIA

  Semiotik dibaca menggunakan pancaindera.
Tanda-tanda disampaikan dalam persembahan melalui mise en scene.
 Untuk membaca semiotik dalam Wayang Wong Indonesia, penonton harus mempunyai nilai kod budaya yang sama.

STRUKTUR PERSEMBAHAN WAYANG WONG INDONESIA


  1. Penyediaan sajen (sajian)
  2. Buka panggung – jampi, kakawen murwa, nyadra murwa, ngalalakon
  3. Persembahan
  4. Tutup panggung (bubaran)


DERIA

KAEDAH

SEGMEN

TANDA

MAKNA

VISUAL

LIHAT
NGALALAKON (LAKONAN)

ANTA WACANA
BAHAGIAN LAKONAN UNTUK DEWA
AURAL

DENGAR
MUZIK
IRAMA BUGIRO
PANGGIL SEMANGAT TURUN
OLFAKTORAL

HIDU
BUKA PANGGUNG
PERASAP KEMENYAN KELILING PANGGUNG
HINDAR SEMANGAT JAHAT DATANG KACAU
TACTILE

SENTUHAN
TUTUP PANGGUNG
HEMBUS PENONTON
PULANG ROH KE TEMPAT ASAL
RASA

JILAT
SAJIAN (SAJEN)
PENONTON MAKAN SEDIKIT SAJEN
AMBIL BERKAT


CONTOH-CONTOH LAIN DALAM PERSEMBAHAN

 Dalang tepuk kedua tapak tangan di atas tanah.
- Upacara mengasap kayon
 -  Dalang ketuk cempolo ke khotak
- Perasap gong
- Perlambangan melalui kostum







Jane The Musical

Sebelum ni, pementasan ni pernah diadakan sekali tapi aku terlepas sebab terlibat dengan komitmen lain. Bila dengar balik ia akan dipentaskan semula, aku fikir aku kena tonton juga sebab nak 'lepas angin' tak dapat tengok 1st show dulu. In fact, aku dah lama tak tengok Meow2 Production buat pementasan. So, boleh refresh balik memori tengok show diorang yang lepas2. Anyway, kalau anda pencinta teater dan berminat... bolehlah join sama.





Meow Meow Productions in collaboration with Dewan Budaya USM with SMK Convent Green Lane, SMK Bukit Jambul and Dalat International School we proudly present to you JANE THE MUSICAL

A Romantic Musical Comedy

Date : 2 & 3 April 2013
Time : 2.30 pm (only on 3rd April 2013) & 8.30 pm (on 2nd and 3rd April 2013)

Starring Farah Mesri, Azhar Jalil, Murshid Md Hussain, Muha Mesri, Jumie Samsudin, Vanneeda Keowmang, Aimy Azmi & Madoka Haga

Special Appearance Dr Mumtaz Begum

Script : Yonz Osman

Director : Solihin Razali

Choreographer : Wan Siti Haniza


Dancers : Meow Meow Esquires

Stage Crews : Meow Meow Movers

PM us now for your tickets and be part of our family.

"Beauty is in the eye of the beholder. What makes you beautiful is you"

Call us now for tickets :: 017 906 6780 :)

Saturday 23 March 2013

TABATA WORK OUT - Senaman untuk Aktor yang...



Setahun yang lepas, dalam satu acting class; aku diminta untuk cari satu jenis senaman dan menjadi demonstrator kepada student-student yang lain. Aku diminta demo kan satu senaman untuk meningkatkan stamina. Ini semua sebenarnya adalah untuk Actor Prepare. Badan seorang actor adalah tool dalam lakonan. Jadi, ia perlu dipersiap secukupnya. Cari punya cari, aku jumpalah satu senaman ni yang dipanggil Tabata. Diilhamkan dari seorang Jepun bernama Izumi Tabata. Actually, ia sangat simple…. but trust me, bila korang buat; aku tak rasa korang akan berjaya pada cubaan pertama. By the way, ia sangat berkesan & aku gunakannya bila nak buat warm up; bukan hanya sebelum berlakon, tapi bersukan. Ini sedikit info, tapi dalam bahasa Inggeris sebab ni sebenarnya adalah tugasan bertulis aku untuk kelas tu.

TABATA WORKOUT
There are various workouts out there (circuit) that may be difficult to understand. Sometimes you have to go to one side of a gym, workout there, then go to the next. Fortunately enough, Tabata is a basic form of workout and can be easy to follow. I’ll list the steps to take in using Tabata training.
Research
If you do not know what Tabata is, I’ll explain a little bit about it. Tabata was founded in Japan by Izumi Tabata. He conducted tests on two groups of athletes; comparing moderate high intensity training with high intensity interval training.
The results were that the athletes training in high intensity interval training improved their aerobic systems as well as their anaerobic system. The athletes who did the moderate high intensity training only improved their aerobic system and had little to no increase in their anaerobic system.
Basic Tools To have
First, make sure you have some sort of journal or list saying what exercises you used for your Tabata and how heavy the weight was that you used (if you’re doing exercises that require weights). It is recommended to have a journal so that you can see if you are getting stronger.
Second, make sure to have a timer with you. If you are exercising in doors and are near a computer, you can use this timer. If you are outside, you can download a Tabata app or amp3 Tabata. Also be sure to have proper attire as well and have a water bottle and towel with you to refresh you between rounds.

Designing Your Tabata
Next, you want to begin to ask yourself what you want to achieve. Do you want to lose fat? Do you want to improve your endurance? Do you want to improve your muscle endurance? Do you want to gain size and strength at the same time improving your cardio? All these can help formulate what exercises to include. This is a sample of a simple Tabata session:
§  Pushups for intervals 1 and 3
§  Body weight Squats for intervals 2 and 4
§  Medicine ball slams for intervals 5 and 7
§  Sprinting or jumping rope for intervals 6 and 8

 

 

Using The Tabata

Now that you designed your own Tabata and know what exercises to use, you are ready to begin. Make sure everything is ready and that you have all the necessary tools. Make sure to warm up properly before and stretch or else you’ll pull a muscle during the session.
If you feel that you are getting tired and cannot go all out during 1 of the intervals, you can either rest for that session and go all out in the next; or you can go at a moderate intensity. However, if you find that you are doing this too often, redesign the exercises in your Tabata so that you can go through all the intervals at your max.
Finally, after you’re done the Tabata training, do a cool down (this can be a light jog around the track or light skipping and biking) and stretch. Make sure that your body gets proper rest and nutrition if you want to see the results you want.

How to use the Tabata Training Method

Tabata (as explained in the “What is Tabata Training”) is a form of high intensity interval training. It is a method that is much more beneficial than regular moderate intensity training (jogging, biking, skipping, and so forth) and much more fun.
Now that you know about the Tabata Training method, the next time is how to use it. I’ll explain in detail on how you can use it effectively so you’ll become much more fit (cardio wise and lean muscle mass).

Before You Use Tabata

Like many other exercises and forms of workouts; you must be committed and determined to put forth all your energy in the exercise. The Tabata Training Method is an advanced form of exercise and it requires you to be fit as well as mentally strong. The method is designed so that it lasts 4 minutes long, however within those 4 minutes you have to go through 8 intervals. Each lasting 20 seconds at a very high intensity.

 

Using The Tabata Training Method

Using Tabata is quite simple and straight forward. However you must be prepared for the session. The first thing you need to do is to pick the exercises you wish to include in your Tabata training. Then, you need the right equipment for the exercises. After, you have to decide which interval is for what exercise (if you have more than one exercise in your training). For example you could have one interval for one exercise and another interval for the other exercise. This is a sample Tabata training plan:
§  Barbell Squats (intervals 1,3)
§  Pushups (intervals 2,5)
§  Chin ups (intervals 4,6)
§  Sprinting in place (intervals 7,8)
§  Equipment needed: Barbell with weights, surface mat for pushups and a chin up bar

Tabata Training lasts 4 minutes and has 8 intervals in total lasting 20 seconds. Within those 20 seconds however, you are going all out. Make sure you use a weight where you can successfully go all out for all 8 intervals. Also make sure the exercises aren’t too hard and aren’t too easy. The exercises should hard enough so it makes you sweat and breath during a interval, however easy enough so you can last the whole Tabata session.

Using The Tabata Training Method Effectively

As mentioned above, you must be prepared and have chosen the correct exercises so you can see improvements in your fitness. However, what I didn’t mention was that you must have proper nutrition and rest if you want Tabata to work.
Due to Tabata being a high intensity interval training form of exercise, it is very taxing to the body. In other words you will definitely feel the soreness in your muscles the next day. Make sure you rest the following day so your body can recover.
Also make sure you eat before the Tabata workout and after. Another point is to warm up and stretch before the workout and have a cool down and stretch after the workout. The last thing you want is to pull a muscle during the Tabata Training cycle and having to stop the timer.

3 Reasons To Do The Tabata Training Method Instead Of Long Distance Running

At one point or another, you have probably went jogging and if you’re anything like most people I know, it’s boring. All you do is run from one area to another and run back at a steady, most of the time slow pace. Most of the time jogging sessions last an hour to 2 hours. However, Tabata training is completely different. I’ll give you three reasons why you should use the Tabata Training Method instead of long distance running and other long hours of cardio training.

 

1. Time

One of the down sizes of doing long distance running is that it takes time to get to the area where you are jogging to and back; and time for your heart rate and metabolism to shoot up. Because it takes time, you’ll have to work longer and harder in order to see the results (losing fat and/or improving cardio). However, with Tabata, you can gain more results in less time.
If you don’t know already, Tabata is a four minute session. Each Tabata has 8 intervals  of which you exercise at a very high intensity for 20 seconds. After 20 seconds, you have 10 seconds to rest.  Tabata is a form of high intensity training and one of the benefits of high intensity training is that it can boost your metabolism and heart rate up in a matter of seconds. Long distance running requires anywhere from 10 minutes to 30 in order to get your heart rate up. Not only that but you have to maintain that heart rate for the rest of the jog to get your body to burn fat.

 

2. Losing Fat

I’m sure you’ve encountered various people saying that the only way to lose fat is to jog. The truth is, jogging is only one of the ways to lose fat (and the slowest). As mentioned above, jogging takes time for your metabolism and heart rate to rise. So in order to burn fat while jogging, you have to wait a bit until your body can get into the fat burning zone.
Tabata training will raise your metabolism and heart rate up in no time. Because you are performing these exercises at a very high intensity, your body will have to work much harder to keep up. This will cause your heart to pump faster and your metabolism to rise; which you want if you are planning on losing fat. Your metabolism will stay at a high not only during the workout, but after the workout as well. This means that your body will be burning fat even when you aren’t doing anything.

3. Aerobic and Anaerobic Benifits

Izumi Tabata was the founder and creator of Tabata. He conducted a test which tested two groups of athletes. The first group was ordered to train in moderate intensity exercises (this includes jogging, skipping, swimming, cycling and so forth) at 70% lasting an hour for each training day for five days a week for a total of six weeks. The result from this group was that their aerobic system improved, however their anaerobic system improved little to none.
The second group was ordered to train 4 days a week for a total of 6 weeks at a high intensity (170%) each training day lasting 4 minutes. The results of this training group was that they increased their aerobic system much more than the other group and that they had a 28% increase.
This means that the group performing high intensity training (Tabata) had much more improvements than the group performing moderate intensity.
Basically, you can get much more done in less time in Tabata training than you can in long distance running. You can also put any exercise you want in Tabata to make it much more fun.

The Pros And Cons Of Using The Tabata Training Method

When comparing Tabata to other cardiovascular training, Tabata really stands out. The reason is because Tabata is the shortest of them all; but is the most effective when it comes to burning fat and improving cardio. However, it is good to know what the pros and cons are to using Tabata. Below I will explain the benefits and non-benefits of using Tabata.

What are the Pros?
From the results of the test that Izumi Tabata did, it has been proven that high intensity interval training (specifically Tabata) increases both the aerobic and anaerobic system of anybody using it. Moderate high intensity training (jogging, biking, swimming, and so forth) increased the aerobic system (not as much as Tabata did) and little to no increase in the anaerobic system.

Basically, if you use Tabata, you will be improving your aerobic system much more than traditional cardio training and you’ll be improving your anaerobic system at the same time.
Other than the short time and anaerobic increase, using Tabata will also fire up the metabolism during the workout and have an after effect after the workout (meaning even after you are done your Tabata workout, you’ll still be burning calories). Having high metabolism will help you burn fat and Tabata is a really good fat burning type of exercise.
As well, Tabata also improves mental toughness (or will power) because of the high intensity of it. At first when you do Tabata training, you might be having the thoughts of quiting.
However, if you pull through the exercise, you’ll be gaining physical benefits as well as mental benefits. Because let’s face it, doing a exercise for 20 seconds at 170% might seem short and easy, but when you do it, those 20 seconds are actually longest 20 seconds of your life (when you’re in session 4 or 5 you’ll understand what I mean).

What are the Cons?

Well, this section will be short because there are very few cons when using the Tabata. However, that doesn’t mean that there isn’t.
Because of the high intensity Tabata requires you to do, it could be dangerous when you perform this exercise when you are prone to strokes and heart attacks. If you know that you have high blood pressure or have had a history of strokes and heart attacks, consult with your doctor first to see if you are physically capable of performing the Tabata exercise.
The other danger about Tabata is that if you’re not careful and are using weights when doing Tabata, depending on the exercise, you could hurt yourself. For example if you are benching real quickly when using Tabata, there’s a chance the bar might slip from your hands.