Wayang Nusantara: Journal of Puppetry最新文献

{"title":"Lakon Karna Tandhing: Konsep Pergantian Musim dalam Pemujaan Syiwa","authors":"Aris Wahyudi","doi":"10.24821/WAYANG.V3I2.3148","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I2.3148","url":null,"abstract":"Arjuna, Indra’s son stands at his war car. General uniform was used making heroic, his left hand hold a bow, and right hand to balance arrow; in the other side Kurawa’s army, Prabu Karna, the Surya’s son, the commander to play his bow too. When bang of war drum to fill the sky, the both army toward central of Kuruksetra field. The millionarrows flaying in the sky like cloudy that closed the sun, and after their hundreds army to yell out dating, afterward the Kuruksetra field flood blood. Suddenly Karna’s arrow kicks Arjuna’s head. At once surprised who show it. Deities yell congratulation praying. Some minutes the war stop. Arjuna’s crown destroyed. Narada descends from the sky give crown to Arjuna that it is exactly with Karna’s have. The both hero collide again. Now, Arjuna likes Karna. Arjuna.s angry make increasingly. He get Pasopati arrow. Arjuna lift his bow. Another one who is look when Arjuna frees his arrow, suddenly Karna’s head cut off. Kurawa’s Hero, Surya’s son was dead. This story, in the wayang world it was called Lakon Karno Tandhing. There were can to get some problems. When Arjuna’s crown destroyed, Narada prepare a crown to Arjuna. I assume that deity knew that would happen. The question is “Why the crown was prepared similarly Karna have, so it is called Karna Tandhing? I am sure that the composer had a meaning ofit. Mythology-ritual analysis shows that this happen is continuity of deity level. All of the hero experiences always involve deity activities. Javanese philosopher composed this story to explain cosmic system that uses symbol systems Lakon Karna Tandhing.Arjuna, putra Indra berdiri megah di atas kereta perangnya. Pakaian kebesaran seorang senapati semakin menambah keperkasaannya. Kedua tangannya mengayun gendewa lengkap dengan busurnya. Di pihak lain, Prabu Karna, putra Surya melakukan hal yang sama saat memimpin pasukan Kurawa. Begitu genderang perang bertalu-talu memenuhi angkasa, kedua pihak berhambur ke medan Kuruksetra, saling menyerbu. Ribuan pasukan saling bertempur dan tidak sedikit yang gugur. Tiba-tiba anak panah Karna menghantam kepala Arjuna hingga mahkotanya hancur. Semua yang menyaksikan sangat terkejut, termasuk pula para dewa dewi di angkasa. Narada segera turun ke dunia, memberikan mahkota yang mirip dengan yang dikenakan Karna yang membuat Arjuna mirip dengan Karna. Kedua perwira tersebut kembali bertempur, seakan-akan Karna melawan Karna. Arjuna melepaskan panah pasopati dan tepat memenggal leher Karna. Karna gugur dengan kepala terlempar dan tubuhnya bersandar di kereta perangnya. Kisah ini dalam tradisi  pedalangan disebut lakon Karna Tandhing. Dari persoalan tersebut, pertanyaannya adalah: mengapa mahkota yang diberikan Narada tersebut mirip dengan milik Karna? Melalui analisis mitologi-ritual diperoleh pemahaman bahwa peristiwa tersebut merupakan kontinuitas dari peristiwa di tataran mite. Semua peristiwa yang dialami para tokoh epic selalu melibatkan campur tangan tokoh mite. Lakon Karna Tandh","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121475569","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":"Belajar Pocapan dari Ki Hadi Sugito","authors":"Endah Budiarti","doi":"10.24821/WAYANG.V3I2.3150","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I2.3150","url":null,"abstract":"This paper discusses the application of the method of learning puppetry, especially Pocapan language (dialogue with puppet characters’). This method is produced by first examining Ki Hadi Sugito’s pocapan in three plays, namely Bagong Ratu, Ujung Sengara, and Wahyu Widayat. Ki Hadi Sugito’s wayang performance was chosen as a model with language considerations produced by Ki Hadi Sugito, simple and communicative. From the results of the study, a simpler text was created. This text is then used as teaching material in class. The text used as this teaching material does not mean limiting students but instead provides opportunities to be developed by students, according to their respective abilities. Tulisan ini membicarakan penerapan metode belajar bahasa pedalangan khususnya bahasa pocapan (‘mendialogkan tokoh-tokoh wayang’). Metode ini dihasilkan dengan terlebih dahulu meneliti pocapan Ki Hadi Sugito dalam tiga lakon yaitu Bagong Ratu, Ujung Sengara, dan Wahyu Widayat. Pergelaran wayang versi Ki Hadi Sugito dipilih sebagai model dengan pertimbangan bahasa yang diproduksi Ki Hadi Sugito sederhana dan komunikatif. Dari hasil penelitian tersebut dibuatlah sebuah teks pocapan yang lebih sederhana. Teks ini kemudian digunakan sebagai bahan ajar di kelas. Teks yang digunakan sebagai bahan ajar ini tidak berarti membatasi mahasiswa tetapi justru memberi peluang untuk dikembangkan oleh mahasiswa, sesuai dengan kemampuan masing-masing.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114729901","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":"Fleksibilitas dan Improvisasi dalam Struktur Cak-ing Pakeliran Lakon Kalimasada Versi Ki Timbul Hadiprayitno","authors":"B. Nugroho","doi":"10.24821/WAYANG.V3I2.3149","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I2.3149","url":null,"abstract":"This paper aims to track cak-ing pakeliran of the Ki Timbul Hadiprayitno version of Lakon Kalimasada. The tracking was used to see Ki Timbul Hadiprayitno’s openness towards today’s development of cak-ing pakeliran. In other words, this paper aims to trace the flexibility of Ki Timbul Hadiprayitno’s attitude as a puppeteer who was in jaman kelakoné. The concept of cak-ing pakeliran Mudjanattistomo et al. (1977) used as a theoretical basis. From the results of the analysis of the cak-ing pakeliran in the Lakon Kalimasada, it was found that the conclusion of Ki Timbul Hadiprayitno gave its own color in the pack of Yogyakarta style pakeliran. He followed the development of the era without damaging the existing cak-ing rules of the Yogyakarta style Pakeliran. It can be said of Ki Timbul Hadiprayitno, who was known as the mastermind who firmly maintained the Yogyakarta style puppetry, it turned out that in his career development was open to changes and developments.Tulisan ini bertujuan melacak cak-ing pakeliran Lakon Kalimasada versi Ki Timbul Hadiprayitno. Pelacakan tersebut digunakan untuk melihat keterbukaan Ki Timbul Hadiprayitno terhadap perkembangan cak-ing pakeliran jaman ini. Dengan kata lain tulisan ini bertujuan melacak kelenturan sikap Ki Timbul Hadiprayitno sebagai seorang dalang yang anut jaman kelakoné. Konsep struktur cak-ing pakeliran Mudjanattistomo dkk. (1977) digunakan sebagai landasan teori. Dari hasil analisis terhadap cak-ing pakeliran Lakon Kalimasada didapatkan kesimpulan Ki Timbul Hadiprayitno memberikan warna tersendiri dalam kemasan pakeliran gaya Yogyakarta. Ia mengikuti perkembangan jaman tanpa merusak kaidah caking pakeliran gaya Yogyakarta yang sudah ada. Dapat dikatakan Ki Timbul Hadiprayitno, yang dikenal sebagai dalang yang teguh mempertahankan pedalangan gaya Yogyakarta, ternyata dalam perkembangan kariernya terbuka terhadap perubahan dan perkembanganjaman.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131885257","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":"Iringan Karawitan Pergelaran Wayang Golek Menak Yogyakarta Versi Ki Sukarno","authors":"Aji Santoso Nugroho","doi":"10.24821/WAYANG.V3I2.3151","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I2.3151","url":null,"abstract":"This article aims to describe the musical accompaniment in the Menak Sukarno Golek Golek performance by Ki Sukarno. Musicology analysis is done using karawitan to reveal the structure, shape, workmanship, and function of karawitan in Ki Sukarno’s Menak Yogyakarta Golek Puppet show. From the observations of Ki Sukarno’s performance, it was concluded that the accompaniment of Menak Puppet Golek music used in the performance was basically not much different from the wayang kulit of Yogyakarta puppet. The difference between the two lies in the laya or rhythmic dish and the obstacle pattern, namely the wayang motion, the ater open the playon and the playon level. Laya or rhythm used refers to dance music and the pattern of resistance. This is because in the Menak Puppet Puppet contains elements of dance movement vocabulary. The performances of Menak Golek Puppet have a standard composition as accompaniment, namely the Gending Goal of Kabor Topèng, Orange Flower Sifter, Playon Kembang Jeruk, Playon Gégot, and Playon Gambuh. Karawitan in the performance of Menak Golek Puppet serves as a confirmation of scene changes, emphasizes the atmosphere of the scene, reinforces dramatic elements, emphasizes the character, and reinforces the character of puppet movements. The presentation structure of Menak Yogyakarta Golek Puppet refers to the structure of Purwa Yogyakarta Puppet Leather, both from the structure of the division of the scene, to the use of gamelan which only uses sléndro tunings. The element that  distinguishes it is only found in the scene ajon-ajon or majeng beksa, namely the motion of dance before committing a war and a fierce war scene. Artikel ini bertujuan mendeskripsikan iringan karawitan dalam pergelaran Wayang Golek Menak Yogyakarta versi Ki Sukarno. Analisis musikologi garap karawitan digunakan untuk mengungkap struktur, bentuk, garap, dan fungsi karawitan dalam pertunjukan Wayang Golek Menak Yogyakarta versi Ki Sukarno. Dari pengamatan terhadap pergelaran Ki Sukarno didapatkan kesimpulan bahwa iringan karawitan Wayang Golek Menak yang digunakan dalam pergelarannya pada dasarnya tidak berbeda jauh dari karawitan Wayang Kulit Yogyakarta. Perbedaan dari keduanya terletak pada sajian laya atau irama dan pola kendhangan yaitu ater-ater gerak wayang, ater-ater buka playon dan suwuk playon. Laya atau irama yang digunakan mengacu pada karawitan tari dan pola kendhangan. Hal ini dikarenakan dalam Wayang Golek Menak terkandung unsur vokabuler gerak tari. Pergelaran Wayang Golek Menak mempunyai gending baku sebagai iringan yaitu Ketawang Gending Kabor Topèng, Ayak-ayak  Kembang Jeruk, Playon Kembang Jeruk, Playon Gégot, dan Playon  Gambuh. Karawitan dalam pergelaran Wayang Golek Menak berfungsi sebagai penegas pergantian adegan, penegas suasana adegan, penegas unsur dramatik, penegas karakter tokoh, dan penegas karakter gerak wayang. Struktur penyajian Wayang Golek Menak Yogyakarta mengacu pada struktur Wayang Kulit Purwa Yogyakarta, baik itu dari ","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132926031","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":"Ki Enthus Susmono: Skandal Performatif Don Juan dan Kebaruan Gagrag Pedalangan","authors":"H. Hariyanto","doi":"10.24821/WAYANG.V3I2.3147","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I2.3147","url":null,"abstract":"This article analyzes Ki Enthus Susmono’s performance through observing some of his previous performances, with the performance idea of Shoshana Felman (2003) in his book, The Scandal of Speaking Body: Don Juan with J.L. Austin, or Seduction in Two Languages, which reads the Don Juan theater by Molière. As a result, it was found that there were similarities between promises by J.L. Austin, Don Juan and Ki Enthus Susmono. Ki Enthus Susmono’s performance has been successfully built through the eclectic, parody and irony representation of postmodern art, which shows the reality of his body’s actions, has been produced repeatedly to produce certain effects so that it becomes a habit (myth). Through his performativity, Ki Enthus Susmono showed his success in building a novel marker of gagrag puppetry. Artikel ini menganalisis performativitas Ki Enthus Susmono melalui pengamatan beberapa rekaman pertunjukannya terdahulu, dengan gagasan performativitas Shoshana Felman (2003) dalam bukunya, The Scandal of The Speaking Body: Don Juan with J.L. Austin, or Seduction in Two Languages, yang membaca teater Don Juan karya Molière. Hasilnya, ditemukan bahwa ada kesamaan antara tindakan janji oleh J.L. Austin,Don Juan dan Ki Enthus Susmono. Performativitas Ki Enthus Susmono berhasil dibangun melalui strategi representasi seni postmodern yang eklektis, parodi, dan ironi, yang menunjukkan realitas tindakan tubuhnya, telah diproduksi berulangkali untuk menghasilkan efek tertentu sehingga menjadi kebiasaan (mitos). Melalui performativitasnya tersebut, Ki Enthus Susmono menunjukkan keberhasilannya membangun penanda kebaruan gagrag pedalangan.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115749929","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":"Review Lakon Sastrajendra Hayuningrat Pangruwating Diyu Wahana Eksplorasi Model Perancangan Lakon Dalam Rangka “Njajah Désa Milang Kori”","authors":"B. Suseno","doi":"10.24821/WAYANG.V2I2.3049","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I2.3049","url":null,"abstract":"Njajah désa milang kori program is an activity of going around from one place to another in Bantul regency. This activity is one of the moral responsibility of the academic civitas of Pedalangan FSP ISI Yogyakarta for the world’s recognition of wayang kulit, which in fact began to have signs of fading in Bantul society. The move is intended as a vehicle to increase the appreciation of the community as well as improving the ability of dalang, both for lecturers and students majoring Pedalangan ISI Yogyakarta. The program is a place to experiment and explore new formats of wayang performances according to the demands of the era. One of these steps is reusing Lakon Alap-alapan Sukèsi by Ki Nartosabdo into the Ngayogyakarta tradition in a concise format. The questions are: (1) What elements are considered in the re-work; (2) Whether the results are stillfollowing the rules of the puppetry; and (3) whether the results of the work have met the criteria of the demands of the times. Through the study of balungan balungan plays and the concept of rap-rapet obtained the conclusion that: (1) Issues submitted are only the main points only; (2) Broadly speaking the plays still follow the pattern of pathet by reducing the jejer and the scene; (3) It meets the demands of the times, new in the aspect of the duration of time; and (4) have not been able to produce ashow that seems relaxed and less able to build a living reality. The results of this study are expected to intensify the re-evaluation so that the  purpose of developing the world of puppetry can be achieved. Program njajah désa milang kori adalah sebuah kegiatan mendalang berkeliling dari satu tempat ke tempat yang lain di Kabupaten Bantul. Kegiatan ini merupakan salah satu bentuk tanggung jawab moral civitas akademika jurusan Pedalangan FSP ISI Yogyakarta atas pengakuan dunia terhadap wayang kulit, yang pada kenyataannya mulai ada tanda-tanda memudar pamornya dalam masyarakat Bantul. Langkah tersebut dimaksudkan sebagai wahana peningkatan apresiasi masyarakat sekaligus peningkatan kemampuan mendalang, baik bagi dosen maupun mahasiswa jurusan Pedalangan ISI Yogyakarta. Program tersebut merupakan ajang bereksperimen dan mengekplorasi format baru pertunjukan wayang sesuai dengan tuntutan jamannya. Salah satu dari langkah tersebut adalah garap-ulang Lakon Alap-alapan Sukèsi oleh Ki Nartosabdo ke dalam tradisi Ngayogyakarta dalam format pakeliran ringkas. Yang menjadi pertanyaan adalah: (1) Unsur apa saja yang diperhatikan dalam garap-ulang tersebut; (2) Apakah hasil garap tersebut masih mengikuti kaidah-kaidah dalam pedalangan; dan (3) Apakah hasil garap tersebut sudah memenuhi kriteria tuntutan jaman. Melalui telaah pola balungan lakon dan konsep sambung-rapet diperoleh kesimpulan bahwa: (1) Permasalahan yang disampaikan hanyalah yang pokok-pokoksaja; (2) Secara garis besar lakon masih mengikuti pola pathet dengan mengurangi jejer dan adegan; (3) Hal yang memenuhi tuntutan jaman, baru dalam aspek durasi ","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115696233","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":"Wayang Bèbèr Damarwulan","authors":"M. Mahmudi","doi":"10.24821/WAYANG.V2I2.3048","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I2.3048","url":null,"abstract":"This “Wayang Bèbèr Damarwulan” work is an interpretation of wayang bèbèr based on the creator’s experience in studying arts. This work is a wayang Bèbèr artwork using traditional picture language (two dimension theory) and shape transformation theory. Both of these theories are used to combine the art of “kethoprak” with the story of Damarwulan into Wayang Bèbèr which then performed as a new version of wayang Bèbèr. By combining kethoprak into wayang Bèbèr, it is expected to be a new attractive and interesting wayang Bèbèr performance for the society. Karya Wayang Bèbèr Damarwulan adalah suatu bentuk interpretasi baru dari wayang bèbèr. Interpretasi baru ini lahir dari pengalaman yang diperoleh perancang selama menekuni dunia seni, baik seni lukis maupun seni pedalangan. Karya Wayang Bèbèr Damarwulan ini merupakan penggarapan wayang bèbèr berdasarkan teori bahasa rupa tradisional/RWD (teori ruang waktu datar) dan teori alih wahana. Kedua teori tersebut digunakan sebagai kerangka berpikir dalam merancang Wayang Bèbèr Damarwulan yang merupakan sebuah karya wayang bèbèr versi baru perpaduan antara kethoprak cerita Damarwulan dengan wayang bèbèr. Karya ini diharapkan dapat membuat pertunjukan wayang bèbèr semakin menarik dan diminati masyarakat.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130581336","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":"Struktur Janturan Wayang Kulit Purwa Yogyakarta","authors":"Endah Budiarti","doi":"10.24821/WAYANG.V3I1.3057","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I1.3057","url":null,"abstract":"The purpose of this study was to find the structure janturan of the Yogyakarta shadow puppet. A further goal of this research is to find a method for learning puppetry language, especially janturan language. To achieve the above objectives, the researchers will first identify and categorize the structure of janturan carried out by Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, and Mudjanattistomo. Second, the grammatical structure of the Yogyakarta senior puppeteers’ puppets wasthen reduced to the grammatical structure of the Yogyakarta shadow puppet show. To find the structure janturan of Yogyakarta Purwa shadow puppet, this study will apply structural analysis. The concept of tatas in chess aesthetics is the version of Soetarno et al. (2007) and the grammatical structure of the Sasangka version (1989) were used as analysis blades in this study. Janturan is the ukara-ukara (‘sentences’) kenès which are arranged in a complete, sequential, and not overlapping manner. As a ukara certainly has a grammatical structure. To be able to find the grammatical structure of scattering, the tatas concept and the grammatical theory of Javanese language are used. From the results of the study of the (grammatical) structure of the Yogyakarta senior mastermind’s succession, the following pattern is obtained: The first part is a section that contains worship. The second part of the janturan contains the greatness of the kingdom which is the center of storytelling. The third part of janturan contains the great king in the great kingdom who is the center of storytelling. The fourth part of the janturan is about the preparation of the trial and those present at the hearing. It is expected that the results of this study can improve teaching materials in thesubject of Bahasa Pedalangan, Pedalangan Rhetoric, and Basics of Pakeliran in the Pedalangan Department.Tujuan penelitian ini adalah menemukan struktur janturan wayang kulit purwa Yogyakarta. Tujuan lebih jauh dari penelitian ini ialah menemukan satu metode belajar bahasa pedalangan khususnya bahasa janturan. Untuk mencapai tujuan di atas, pertama-tama peneliti akan mengidentifikasi dan mengkategorikan struktur janturan yang dibawakan oleh Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, dan Mudjanattistomo. Kedua, struktur gramatikal janturan dalang-dalangsenior Yogyakarta tersebut kemudian direduksi menjadi struktur gramatikal janturan wayang kulit purwa Yogyakarta. Untuk menemukan struktur janturan wayang kulit purwa Yogyakarta penelitian ini akan menerapkan analisis struktural. Konsep tatas dalam estetika catur versi Soetarno dkk. (2007) dan struktur gramatikal ukara versi Sasangka (1989) digunakan sebagai pisau analisis dalam penelitian ini. Janturanmerupakan ukara-ukara (‘kalimat-kalimat’) kenès yang disusun secara lengkap, urut, dan tidak tumpang tindih. Sebagai sebuah ukara tentu memiliki struktur gramatikal. Untuk dapat menemukan struktur gramatikal janturan digunakan konsep tatas dan teori strukt","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133465208","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":"Wrémada: Sebuah Transformasi Tantri dalam Pertunjukan Wayang Bali","authors":"I. K. B. Dwitiya","doi":"10.24821/WAYANG.V2I2.3050","DOIUrl":"https://doi.org/10.24821/WAYANG.V2I2.3050","url":null,"abstract":"“Wrémada” is reinterpretations of once episode of Tantri stories, it’s to respond of social-culture phenomena in Indonesia. As we know, the television programs expose coruption in some departmens and institutions. In the other side, the majority of Indonesia society  wereunderestimating of traditional arts. Based on this phenomena,title of this art work was used “Wrémada”, it’s mean is “the monkey was stunned by position and authorities. This art work to fuse three genre, there are wayang golek, wayang peteng, dan wayang lemah, in which each of those had different of playing technical and space. But they were colaborated to be one unity art work, and so, this art work can be accepted of Baliness society. And it explained once widya component of Tantri’s story, so it be rebornd and reflected by Indonesia society, and so to build a nations character based on local norm and convention. My expectations of tenants, it can be wise and be guided by the chess pariksa or called by the name of chess nayasandhi is the same, different, funds, and danda. “Wrémada” merupakan reinterpretasi dari salah satu cerita dalam Tantri, untuk merespon kondisi sosial budaya bangsa Indonesia dewasa ini. Sebagaimana banyak diberitakan di televisi tentang pejabat tinggi negara yang terjerat kasus korupsi. Fakta demikian ditunjang oleh kondisi budaya bangsa khususnya kesenian tradisional yang menunjukkan adanya gejala mulai terpinggirkan. Atas dasar hal tersebut maka karya ini diberi judul “Wremada”, yang artinya kera yang mabuk jabatan dan kekuasaan.Karya ini merupakan gabungan tiga jenis wayang, yaitu wayang golek, wayang peteng, dan wayang lemah. Ketiganya memiliki teknik bermain dan ruang gerak yang berbeda, kemudian dikolaborasikan menjadi satu kesatuan karya yang utuh. Karya ini dimaksudkan untuk menjabarkan salah satu komponen widya dalam cerita Tantri agar dikenali kembali oleh masyarakat. Karya ini juga diharapkan dapat bermanfaat dalam pembangunan karakter bangsa, khususnya pola perilaku yang sesuai dengan nilai-nilai bangsa sesuai dengan kapasitas masing-masing. Harapan penggarap, karya ini dapat dijadikan cermin bagi masyarakat agar bersikap bijaksana dengan berpedoman pada catur pariksa atau catur nayasandhi,yang meliputi sama, beda, dana, dan danda.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123748611","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 Lakon Ramabargawa: Respon Estetik Kisah-Kisah Ramabargawa","authors":"Fani Rickyansyah","doi":"10.24821/WAYANG.V3I1.3054","DOIUrl":"https://doi.org/10.24821/WAYANG.V3I1.3054","url":null,"abstract":"The design of the Ramabargawa play is a realization from a perspective on reading Ramabargawa stories that have been known by the community. In addition to offering a perspective, this work also aims as a medium to communicate the idea of a harmonious family. Wolfgang Iser’s Aesthetic Response Theory is used as a frame of mind. The texts of the Ramabargawa story known to the public as the text of the sender were responded to by the recipient of the work, then realized in the design of the Ramabargawa play. Ramabargawa’s play is a response to the Ramabargawa story that is considered common by the community. This play is packed in solid shows with a duration of one and a half hours. This Ramabargawa play is presented in the style of Pakeliran Yogyakarta that is developing today. New working idioms that make pakeliran offeringsare more interesting, weighty, and in accordance with the development of puppetry today displayed in the show. This is intended so that the Yogyakarta-style shadow puppet show continues to be sustainable but continues to grow with a variety of new innovations.Perancangan lakon Ramabargawa merupakan realisasi dari sebuah sudut pandang atas pembacaan kisah-kisah Ramabargawa yang telah dikenal oleh masyarakat. Selain menawarkan sebuah sudut pandang, karya ini juga bertujuan sebagai media mengkomunikasikan gagasan tentang keluarga harmonis. Teori Respon Estetik Wolfgang Iser dipakai sebagai kerangka berpikir. Teks-teks kisah Ramabargawa yang telah dikenal masyarakat sebagai teks pengirim direspon oleh pengkarya sebagaipenerima, lalu direalisasikan dalam perancangan lakon Ramabargawa. Lakon Ramabargawa merupakan respon atas cerita Ramabargawa yang dianggap lazim oleh masyarakat. Lakon ini dikemas dalam pertunjukan padat dengan durasi waktu satu setengah jam. Lakon Ramabargawa ini disajikan dengan gaya Pakeliran Yogyakarta yang berkembang dewasa ini. Idiom-idiom garap baru yang membuat sajian pakeliran lebih  menarik, berbobot, dan sesuai dengan perkembangan pedalangan zaman sekarang ditampilkan dalam pertunjukan. Hal tersebut dimaksudkan agar pertunjukan wayang kulit purwa gaya Yogyakarta tetap lestari namun terusberkembang dengan berbagai inovasi baru.","PeriodicalId":133263,"journal":{"name":"Wayang Nusantara: Journal of Puppetry","volume":"182 1-2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114007581","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}