Wayang Nusantara: Journal of Puppetry最新文献

{"title":"Pertunjukan Wayang Kulit Madya Lakon Aji Pamasa Sanggit Ki Purbo Asmoro","authors":"S. A. Santoso, Tatik Harpawati","doi":"10.24821/WAYANG.V4I2.3804","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I2.3804","url":null,"abstract":"Abstract This paper discusses the puppet shapes, movements, musical accompaniment, and the story-telling of Aji Pamasa play by Ki Purbo Asmoro. This research uses descriptive qualitative method in which Murtiyoso concept of puppetry medium is further explored. The data collection method used was observation, note-taking, and sorting techniques. The method used in the data analysis phase was library research. This study has concluded that the Wayang Madya presentation of Aji Pamasa play by Ki Purbo Asmoro has been  adapted to the shapes of the puppets and the musical accompaniment. Abstrak Tulisan ini membahas tentang bentuk wayang, gerak wayang, iringan karawitan, dan penceritaan lakon Aji Pamasa sanggit Ki Purbo Asmoro. Konsep medium pedalangan Murtiyoso digunakan sebagai landasan dalam penelitian ini. Penelitian ini menggunakan metode deskriptif kualitatif. Metode pengumpulan data dilakukan dengan teknik simak, teknik catat, dan teknik pilah. Metode yang digunakan dalam tahap analisis data adalah metode kepustakaan ( lybrary methods). Penelitian ini menemukan simpulan bahwa sajian pertunjukan wayang madya lakon Aji Pamasa sanggit Ki Purbo Asmoro telah mengalami penyesuaian dalam hal bentuk boneka wayang dan iringan pakeliran .","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127439295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kewadatan Lesmana dalam Sastra Tulis dan Pertunjukan Wayang","authors":"S. Suprihana, Udreka Udreka","doi":"10.24821/WAYANG.V4I2.5196","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I2.5196","url":null,"abstract":"AbstractThis paper discusses the nature of Lesmana in the written text and the play text of the purwa leather puppet show. This paper also discusses the text's intertextual relationship, especially regarding the concept of the Lesmana wadat. The data used are Serat Rama Jasadipoera, Novel Anak Bajang Gushing Winds Sindhunata, and the play Banjaran Rahwono Ki Timbul Hadi Prayitno. Intertextual concepts are used as a theoretical framework. Methods of data analysis using qualitative descriptive methods. The finding of this study is that the concept of the Lesmana wadat in the three texts does not experience any deviation or change.AbstrakTulisan ini membahas kewadatan Lesmana dalam teks tulis dan teks lakon pertunjukan wayang  kulit purwa. Tulisan ini juga membahas hubungan intertekstual teks tersebut khususnya tentang konsep wadat Lesmana. Data yang digunakan ialah Serat Rama Jasadipoera, Novel Anak Bajang Menggiring Angin Sindhunata, dan lakon Banjaran Rahwono Ki Timbul Hadi Prayitno. Konsep intertekstual digunakan sebagai kerangka teori. Metode analisis data menggunakan metode deskriptif kualitatif. Temuan dari penelitian ini ialah konsep wadat Lesmana dalam ketiga teks tidak mengalami penyimpangan atau perubahan.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123181795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kontrovesi Perang Malam Hari dan Ambivalensi Tokoh Karna dalam Lakon Suluhan","authors":"Muhammad Lutfhi","doi":"10.24821/WAYANG.V4I2.4948","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I2.4948","url":null,"abstract":"AbstractThis study aims to understand the meaning of Suluhan or the Death of Gatutkaca Play by Ki Hadi Sugito. This study employs qualitative descriptive method in which Paul Ricoeur's hermeneutic theory is used. Note-taking, listening, and identity techniques were used in data analysis. The results show that Adipati Karna’s decisions and actions to fight at night becomes the driving force of the events that occur in the next scenes. Adipati Karna's actions break the rules of war to disprove the accusation of being a spy and to prove his loyalty to the Kurawas. The death of Gathutkaca in Tegal Kurusetra is not solely due to the Adipati Karna’s or Kalabendana’s actions, but it has become Gathutkaca’s choice and destiny as it is written in the Jitabsara Book. AbstrakPenelitian ini bertujuan memahami makna Lakon Suluhan Ki Hadi Sugito. Penelitian ini menggunakan teori hermeneutika Paul Ricoeur. Metode deskriptif kualitatif digunakan dalam penelitian ini. Teknik catat, simak, dan padan orthografi digunakan dalam analisis data. Hasil penelitian menunjukkan bahwa keputusan dan tindakan adipati Karna berperang pada malam hari menjadi penggerak dari peristiwa-peristiwa yang terjadi dalam adegan-adegan berikutnya. Tindakan Adipati Karna melanggar aturan perang dalam rangka untuk menegasi tuduhan mata-mata terhadap dirinya dan untuk membuktikan kesetiaannya pada Kurawa. Kematian Gathutkaca di Tegal Kurusetra bukan semata-mata karena perbuatan Adipati Karna atau Kalabendana, namun sudah menjadi pilihannya dan dalam kerangka takdir Tuhan Yang Maha Kuasa seperti tertulis dalam Kitab Jitabsara.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128290509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Resepsi dan Tanggapan Ki Timbul Hadiprayitno atas Gugurnya Dasamuka dalam Lakon Banjaran Sinta","authors":"Setyoko Setyoko, A. Wahyudi","doi":"10.24821/WAYANG.V4I2.4952","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I2.4952","url":null,"abstract":"AbstractKi Timbul Hadiprayitno’s sanggit (a way of storytelling in wayang perfomance based on particular dalang’s/puppet master’s interpretation) regarding the death of Prabu Dasamuka in his play of Banjaran Sinta is an interesting phenomenon. There are several characters and events that are not common in conventional puppetry traditions in general, especially in Ngayogyakarta puppetry tradition. Ki Timbul himself has said that some of the events and characters in the play originated from the comic by Kosasih. Thus, it can be said that there has been a transformation of the Kosasih text into the performance form by Ki Timbul Hadiprayitno. The question is: How does Ki Timbul Hadiprayitno respond to the Kosasih text through his new sanggit? The process of the transformation here can be traced by comparing the texts of Ki Timbul Hadiprayitno and Kosasih in order to examine their similarities and differences. The comparison of both texts is very important to show the origin of source text which becomes the basis for the creation of the new text in Ki Timbul Hadiprayitno’s sanggit. By this comparison, the causes of differences and changes of text and sanggit can be revealed. Furthermore, it can show that Kosasih’s text has influenced Ki Timbul Hadiprayitno’s play. There have been changes, both additions and subtractions. However, Ki Timbul Hadiprayitno still pays attention to and maintains the intertextuality of wayang plays intact. AbstrakSanggit Ki Timbul Hadiprayitno mengenai gugurnya Prabu Dasamuka dalam lakon Banjaran Sinta, merupakan fenomena yang menarik. Di sana dijumpai beberapa tokoh dan peristiwa yang tidak lazim dalam tradisi pedalangan konvensional pada umumnya, terlebih tradisi pedalangan Ngayogyakarta. Ki Timbul sendiri mengatakan bahwa beberapa peristiwa dan tokoh dalam lakon tersebut bersumber dari komik karya Kosasih. Dengan demikian dapat dikatakan bahwa telah terjadi transformasi teks Kosasih ke dalam bentuk pertunjukan Ki Timbul Hadiprayitno. Yang menjadi pertanyaan adalah: Bagaimana cara Ki Timbul Hadiprayitno menanggapi teks Kosasih melalui sanggit barunya? Proses terjadinya transformasi di sini dilacak dengan cara mempersandingkan teks Ki Timbul Hadiprayitno dan Kosasih dalam rangka mencermati persamaan dan perbedaannya. Persandingan demikian sangat penting untuk menunjukkan sumber teks yang dijadikan dasar penciptaan teks baru dalam sanggit Ki Timbul Hadiprayitno. Dari sini kemudian dilacak tentang penyebab perbedaan dan perubahan yang terjadi. Melalui strategi di atas diperoleh pemahaman bahwa teks Kosasih menjadi bahan perubahan pada teks lakon yang telah dimiliki Ki Timbul Hadiprayitno sebelumnya. Namun dalam perpaduan tersebut telah terjadi perubahan, baik penambahan maupun pengurangan. Namun demikian Ki Timbul Hadiprayitno masih memperhatikan dan mempertahankan intertekstual lakon wayang secara utuh.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125904578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bima-Drona dalam Lakon Dewa Ruci sebagai Vayu-Vata, Transformasi Prana dalam Pertunjukan Wayang","authors":"Aris Wahyudi","doi":"10.24821/WAYANG.V4I2.5172","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I2.5172","url":null,"abstract":"AbstrackRelationship of Bima and Drona in Dewa Ruci story is unique. Eventhough Drona puts Bima into danger, Bima chooses Drona as a teacher. It is because Bima has not obtained a very good spiritual knowledge about life yet since a hero is supposed to have high spiritual qualities and good prayers. The wayang tradition describes Bima as a cruel hero who is not religious, and Drona does not have good brahman qualifications, either. This leads to an assumption that their relationship must be important and meaningful. The question is what does the relationship between Bima-Drona mean, namely Bima as the learner who becomes the recipient of spiritual knowledge of welfare and Drona as his teacher? With structural mythological analysis, it can be concluded that the relationshp between Bima-Drona is an identification of Vãyu-Vãta as the transformation of prana in the Syiwapuja rituals. AbstrakBima dan Drona dalam cerita Dewa Ruci adalah hubungan yang unik. Meski Drona menjerumuskan Bima, namun Bima memilih Drona sebagai guru. Apalagi hal yang berhubungan dengan pengetahuan spiritual yang sangat baik tentang kehidupan, di mana dapat ditemukan oleh pahlawan yang memiliki kualitas spiritual yang tinggi, doa yang baik, tetapi Bima belum. Tradisi wayang memaparkan bahwa Bima adalah pahlawan yang kejam, tidak berkarakter religius dan Drona belum memiliki kualifikasi brahmana yang baik. Fenomena itu memunculkan asumsi bahwa hubungan tersebut pasti bermakna. Pertanyaannya adalah apa arti Bima-Drona, yaitu Bima sebagai penerima pengetahuan spiritual tentang kesejahteraan dan Drona sebagai gurunya? Dengan analisis mitologi struktural dapat disimpulkan bahwa Bima-Drona adalah identifikasi Vãyu-Vãta sebagai transformasi prãna dalam upacara ritual Syiwapuja.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130344663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lakon Mintaraga ke Sang Indrakila Resi Kajian Alih Wahana (The Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another)","authors":"Endah Budiarti","doi":"10.24821/WAYANG.V4I1.4749","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I1.4749","url":null,"abstract":"AbstractThe Play of Mintaraga to Sang Indrakila Resi: Study of a Change from One Type of Art to Another. This study aimed to trace the art transformation of the Mintaraga play to Sang Indrakila Resi. In other words, tracing the art transformation from play to written play. Sapardi Djoko Damono’s theory of art transformation is used as a framework for thinking in this study. Sapardi Djoko Damono’s theory states that art transformation is the change and transfer of “something” from one type of art to another. This study used descriptive qualitative method. The data collection and processing methods used in this study were note-taking, listening, sorting, and orthographic matching techniques. The method used in the data analysis stage was the literary method (library methods). The result of this study was a formula for transfer of art from play to written play. AbstrakTulisan ini bertujuan melacak alih wahana lakon Mintaraga ke Sang Indrakila Resi. Dengan kata lain melacak alih wahana dari lakon pertunjukan ke lakon tulis. Teori alih wahana Sapardi Djoko Damono dipakai sebagai kerangka berpikir dalam penelitian ini. Teori Sapardi Djoko Damono mengatakan bahwa alih wahana adalah pengubahan dan pemindahan “sesuatu” dari satu jenis wahana ke jenis wahana lain. Temuan yang dihasilkan ialah formula alih wahana dari lakon pertunjukan ke lakon tulis.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126735443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perancangan Buku “Jejak Kaki Semar” (The Book Design of “Jejak Kaki Semar”)","authors":"Gilang Purnama, Mohammad Isa Pramana Koesoemadinata","doi":"10.24821/WAYANG.V4I1.3157","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I1.3157","url":null,"abstract":"AbstractThe Book Design of “Jejak Kaki Semar”.This paper aimed to discuss the design of a book (book design) as a medium for introducing puppet to the younger generation. This book is entitled Jejak Kaki Semar. This book tells about Semar and its philosophical meaning. It was designed as a medium of information, education, and entertainment. In order to attract the younger generation, this book is given an attractive illustration and sold at a low price.AbstrakTulisan ini membahas tentang perancangan sebuah buku sebagai media memperkenalkan wayang kepada generasi muda. Jadi tulisan ini membahas tentang desain buku dan makna filosofi tokoh Semar. Buku ini diberi judul Jejak Kaki Semar. Buku tentang tokoh Semar dan makna filosofinya ini dirancang sebagai satu media informasi, edukasi dan hiburan. Untuk menarik minat generasi muda, buku ini diberi ilustrasi yang menarik dan dijual dengan harga murah.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134390660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Perancangan Bioskop Wayang Lakon Jabang Tetuka (The Design of Shadow Puppet Movie Theater of Jabang Tetuka Play)","authors":"Aneng Kiswantoro","doi":"10.24821/WAYANG.V4I1.3836","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I1.3836","url":null,"abstract":"AbstractThe Design of Shadow Puppet Movie Theater of Jabang Tetuka Play. This paper aimed to discuss the design of Puppet Cinema with the Jabang Tetuka play. It was assumed that by utilizing digital and audio-visual technology, puppet shows are able to compete with other performances. Puppet Cinema Pakeliran with the Jabang Tetuka play was designed based on the concept of presenting a cinema film. This concept prioritizes two things, namely audio and visual. Jabang Tetuka play was taken from the Javanese shadow puppet story. Alma M. Hawkins design method used as the design method of this work. The Hawkins method includes three stages in the design, namely exploration, experimentation, and formation. The result obtained is a puppet show (pakeliran) of puppet cinema with the Jabang Tetuka play. AbstrakTulisan ini membahas perancangan Bioskop Wayang dengan lakon Jabang Tetuka. Diasumsikan dengan memanfaatkan teknologi digital dan audio-visual, pertunjukan wayang mampu bersaing dengan pertunjukan yang lain. Pakeliran Bioskop Wayang dengan lakon Jabang Tetuka dirancang berdasarkan konsep penyajian film bioskop. Konsep ini mengutamakan dua hal yaitu audio dan visual. Lakon Jabang Tetuka diambil dari cerita wayang kulit purwa. Metode perancangan Alma M. Hawkins dipakai sebagai metode perancangan karya ini. Dalam metode Hawkins tercakup tiga tahapan dalam perancangan ialah eksplorasi, eksperimentasi, dan pembentukan. Hasil yang didapat ialah pertunjukan wayang (pakeliran) bioskop wayang dengan lakon Jabang Tetuka.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114074288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Proses Olah Vokal Dalang Perempuan (The Process Of Female Puppeteers’ Vocalism)","authors":"Anisyah Padmanila Sari","doi":"10.24821/WAYANG.V4I1.3905","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I1.3905","url":null,"abstract":"AbstrackThis paper aims to describe the vocal processing of six female puppeteers who are the object of research. This description is intended to give an idea of how they practice and what methods are used in vocal processing by each puppeteer. Based on the results of interviews, observations, and directly following their activities as a female puppeteer, it was concluded that the votes obtained now are the result of regular, continuous training over a long period of time. The process of vocal processing by ninthing gendèr and spiritual behavior is passed by all female puppeteers. There are two interesting things to note are (1) a female puppeteer who wants her voice to approach a male voice trains her voice in order to reach the notes in the lower octaves and become gérong; (2) a female puppeteer who remain with their female voices put more emphasis on ninthing gendèr and breathing exercises. AbstrakTulisan ini bertujuan mendeskripsikan proses olah suara enam dalang perempuan yang menjadi obyek penelitian. Deskripsi ini dimaksudkan untuk memberi gambaran tentang bagaimana mereka berlatih dan metode apa yang digunakan dalam berolah suara oleh masing-masing dalang. Berdasarkan hasil wawancara, pengamatan, dan mengikuti secara langsung kegiatan mereka sebagai dalang perempuan, diperoleh kesimpulan bahwa suara yang didapat sekarang merupakan hasil latihan secara rutin, terus-menerus dalam waktu yang cukup panjang. Proses olah suara dengan ninthing gendèr dan laku spiritual dilalui oleh semua dalang perempuan. Ada dua hal yang menarik untuk diperhatikan ialah (1) dalang perempuan yang ingin suaranya mendekati suara laki-laki melatih suaranya agar dapat mencapai nada-nada pada oktaf rendah dan menjadi gérong; (2) dalang perempuan yang tetap dengan suara perempuannya lebih menekankan pada latihan ninthing gendèr dan latihan pernafasan.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"182 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114139493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Kartisampéka” Trigantalpati dalam Lakon Wayang Gandamana Tundhung Ki Hadi Sugito (“Kartisampéka” Trigantalpati in Gandamana Tundhung Shadow Puppet Play Performance by Ki Hadi Sugito)","authors":"Retno Dwi Intarti","doi":"10.24821/WAYANG.V4I1.3664","DOIUrl":"https://doi.org/10.24821/WAYANG.V4I1.3664","url":null,"abstract":"AbstractThis paper aimed to examine kartisampéka Trigantalpati in the Gandamana Tundhung play performed by Ki Hadi Sugito. Kartisampéka is an act of deluding others subtly and not automatically visible to other people (sinamun sinamudana). Kartisampéka has a negative connotation because the actions carried out are aimed at harming others. The data analysis was carried out by using descriptive analytical method. This study succeeded in finding kartisampéka as a sub-theme of the Gandamana Tundhung play performed by Ki Hadi Sugito. The kartisampéka concept which attached to the Trigantalpati character was used to build the plot for the Gandamana Tundhung play performed by Ki Hadi Sugito. AbstrakTulisan ini bertujuan mengkaji kartisampéka Trigantalpati dalam lakon Gandamana Tundhung Ki Hadi Sugito. Kartisampéka ialah perbuatan memperdaya orang lain secara halus dan tidak serta merta dapat dilihat oleh orang lain (sinamun sinamudana). Kartisampéka mengandung konotasi negatif, karena perbuatan yang dilakukan bertujuan mencelakakan orang lain. Analisis data dilakukan dengan metode deskriptif analitis. Kajian ini berhasil menemukan kartisampéka sebagai sub-tema dari lakon Gandamana Tundhung Ki Hadi Sugito. Konsep kartisampéka yang dilekatkan pada tokoh Trigantalpati digunakan untuk membangun plot lakon Gandamana Tundhung Ki Hadi Sugito.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124635133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}