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All Journal Gelar : Jurnal Seni Budaya Lakon Jurnal Pengkajian & Penciptaan Wayang
Timbul Subagya
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NILAI-NILAI ESTETIS BENTUK WAYANG KULIT Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (232.654 KB) | DOI: 10.33153/glr.v11i2.1483

Abstract

The history of wayang (Javanese leather puppets) had through a long process and was influencedby many religions and beliefs. At the beginning, the function of wayang was as a worship tool to theancestral spirits or Hyang, and developed into attraction show today. Leather wayang was drawnen face and converted became en trios quart. Now it became en profil. The revision and thedevelopment of wayang’s forms stillation is synchronized with the social conditions of the society,from their beliefs in animism, Hinduism, and Islamic. The depictions of puppet forms that existtoday are influenced by Islamic sculpture and technical demands to perform the show on a screen.Depictions of leather wayang in en profile forms were done to avoid realistic human portrayal thatis prohibited in Islam.
LAKON CARANGAN PADA PEDALANGAN SUNDA Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4078.18 KB) | DOI: 10.33153/glr.v7i2.1293

Abstract

The writing entitled lakon carangan is a descriptive review of Sundanese puppetry discussing how lakon carangan was created and the structure of it. The result of the analysis shows that lakon carangan came into existence because it was only standard stories of Mahabarata and Ramayana which were presented. To avoid boredom, puppeteers created new stories which were still based on the standard stories. The new stories are called lakon carangan. The structure of Sundanese lakon carangan is different from Javanese lakon carangan. Key words : wayang, lakon carangan, structure 
Analisis Sanggit Lakon Baratayuda Ki Joko Santosa Timbul Subagya
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 5, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3422.611 KB) | DOI: 10.33153/lakon.v5i1.743

Abstract

The term of sanggit in Surakarta puppetry is well known and its existence cannot be separated. For the reason, a dalang should prepare sanggit lakon which will be presented when he would like to have performance because garap sanggit produces certain effect to the audiences. In Javanese view, lakon Baratayuda is still believed to be sacred for it has strong magic. That is why a dalang who would like to perform Baratayuda should be careful in making sanggit lakon that will be presented. Joko Santoso is one pf the dalang who often present lakon Baratayuda. How his sanggit lakon is and he is always constant or not in his presentation. This article would like to explain one of his sanggit is presenting Baratayuda for bersih desa in Turus Polanharjo, Klaten in 2002.Keyword : Baratayuda, sanggit lakon
Lakon Banjaran : Apa dan Bagaimana ? Timbul Subagya
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 4, No 1 (2007)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (868.864 KB) | DOI: 10.33153/lakon.v4i1.701

Abstract

As we know that before Ki Nartasabda appears, puppet society only has standard story (lakon baku) or jejer, carangan and/or carang kadhapur. The appearance of banjaran puppet in 1970s by Ki Nartasabda leads to the pros and cons in puppet society. Nevertheless, the kind of story is often presented by some dalag today. This paper illuminates briefly about the existence of banjaran puppet story introduced by Ki Nartasabda. Because of the minimum abservation, this paper just tries to convey what and  how the story  of banjaran is and is still seem incomplete.Key words: lakon banjaran, Nartasabda.
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