Learning Lessons from Human Tragedies in the Drama Kapai-kapai

Abstract

: This study aims to examine the structure of characterization of the Kapai-Kamat drama by Arifien C. Noer with a theatre semiotics approach. Kapai-kapai 's dramas are interesting because the problems presented by the author are quite contextual to date even though they were written in 1979. This drama structure contains many signs (sign) so that it needs to be analyzed using the theatre semiotics approach. Theatre semiotics examines objects by interpreting a sign that is associated with the socio-cultural context. Drama scripts, including Kapai-kapai, are semiotic symptoms, so researchers must regard the drama as a sign. The results of this study are as follows. The Emak figure functions as a signifier (signifier) of power, while Abu signifies (signifies) for the weak who are oppressed by power. The grandfather, who is religiously observant (signifier) functions as a marker of humans who still consider religious values as a determinant of a better life direction (signifies). The Mirror of Deception (signifier), which is always hunted by Abu, is a marker of uncertainty or endless values (signifies). Employer figure II, who always calls Abu (signifier) with bell sound, is a marker of the industrialization process that does not bring prosperity to the community (signifier). The social background of the lower class where Abu and Emak are located (signifier) is a symbol of poverty that hit the community (signifies).