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All Journal Jurnal Sosial Ekonomi Pertanian JREC (Journal of Electrical and Electronics) JURNAL PILAR Majalah Kedokteran Sriwijaya Chimica et Natura Acta Jurnal Ekonomi & Keuangan Islam Transformatif Journal of Education, Humaniora and Social Sciences (JEHSS) Jurnal Review Pendidikan dan Pengajaran (JRPP) Jurnal Asy-Syukriyyah Jurnal Pengabdian kepada Masyarakat Nusantara Melayu Arts and Performance Journal Creativity And Research Theatre Journal Jurnal Pengabdian Masyarakat: Humanity and Medicine Jurnal Manajemen dan Organisasi Review (MANOR) Ekonomi dan Bisnis Journal Of Khairun Community Services Jurnal Pengabdian kepada Masyarakat Bina Darma Humantech : Jurnal Ilmiah Multidisiplin Indonesia Jurnal Pajak dan Bisnis (Journal of Tax and Business) Eksergi: Jurnal Teknik Energi Offscreen: film and television journal Al-Tijary : Jurnal Ekonomi dan Bisnis Islam Jurnal Pengabdian Masyarakat Bangsa Paradigma: Jurnal Kajian Budaya Matalensa Journal of Photography and Media Qawanin Jurnal Ilmu Hukum Journal of Management, Entrepreneurship and Tourism EJLHSS Jurnal Pengabdian Masyarakat Jurnal Intelek Dan Cendikiawan Nusantara JGEN : Jurnal Pengabdian Kepada Masyarakat Inspirasi: Jurnal Pengabdian Masyarakat Jurnal Asy-Syukriyyah EXCELLENT HEALTH JOURNAL Pengabdian Masyarakat (DIMASY) Journal of Engineering Science and Technology Applications Journal of Muhammadiyah’s Application Technology Aksara
Yusril Yusril
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Journal : Aksara

 1 
Transformasi Dramaturgis Indang Piaman dalam Pertunjukan Teater “Anggun Nan Tongga” Karya Wisran Hadi N, Sahrul; Yusril, Yusril; H, Afrizal
Aksara Vol 36, No 1 (2024): AKSARA, EDISI JUNI 2024
Publisher : Balai Bahasa Provinsi Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.29255/aksara.v36i1.4170.68--82

Abstract

Kaba "Anggun Nan Tongga" is a Minangkabau folktale, precisely in the Pariaman area. This Kaba tells a story of power struggle and a very complex love affair, then transformed by Wisran Hadi (director and leader of the Bumi Teater group) into a modern theater form. Wisran Hadi interpreted the Kaba "Anggun Nan Tongga" differently, so it can be said that this work is a counter kaba to the traditional kaba. For Wisran Hadi, kaba is not a holy book that cannot be changed. The majority of Wisran Hadi's works rely on kaba as inspiration for the creation of his plays and theater performances, so they are different from the original form. The interesting thing in the theater work "Anggun Nan Tongga" lies in the pattern of three lines on the left, right and back. This pattern is basically based on one of the traditional Minangkabau art forms in Pariaman, called Indang Piaman. This Indang Piaman pattern is then used as an attractive performance spectacle element in motion, as well as dendang (singing) combined with modern western theater dramaturgy. This research method relies on a qualitative method that prioritizes interviews and literature studies. Meanwhile, to answer the research problem, the dramaturgical approach developed by Mary Luckhurst is used. Through this dramaturgy, the theater can be analyzed to see the extent to which the dramatic potential of Indang Piaman is able to make a significant contribution to the spectacle of the theater work "Anggun Nan Tongga" by Wisran Hadi. This research is expected to find various aspects that shape the creation of Indang Piaman's dramatic potential in the theater work "Anggun Nan Tongga". AbstrakKaba “Anggun Nan Tongga” merupakan cerita rakyat Minangkabau, tepatnya di daerah Pariaman. Kaba ini mengisahkan tentang perebutan kekuasaan dan hubungan percintaan yang sangat kompleks, kemudian ditransformasi oleh Wisran Hadi (sutradara dan pimpinan kelompok Bumi Teater) ke dalam bentuk teater modern. Wisran Hadi melakukan penafsiran yang berbeda terhadap Kaba “Anggun Nan Tongga” tersebut, sehingga bisa dikatakan karya ini merupakan kontra kaba terhadap kaba tradisi. Bagi Wisran Hadi, kaba bukan kitab suci yang tidak boleh diubah. Mayoritas karya Wisran Hadi bertolak pada kaba sebagai inspirasi penciptaan naskah drama maupun pertunjukan teaternya sehingga memiliki perbedaan dengan bentuk aslinya. Hal yang menarik di dalam karya teater “Anggun Nan Tongga” terletak pada pola tiga garis yang berada di sebelah kiri, kanan, dan belakang. Pola seperti ini pada dasarnya bertolak pada salah satu bentuk kesenian tradisi Minangkabau di Pariaman, yang disebut dengan istilah Indang Piaman. Pola Indang Piaman ini, kemudian dijadikan sebagai elemen spektakel pertunjukan yang atraktif secara gerak, maupun dendang (nyanyian) yang dipadukan dengan dramaturgi teater modern barat. Metode penelitian ini bertolak pada metode kualitatif yang mengutamakan pada aspek wawancara dan studi literatur. Sementara, untuk menjawab permasalahan penelitian, digunakan pendekatan dramaturgi yang dikembangkan oleh Mary Luckhurst. Melalui dramaturgi ini, teater mampu dianalisis untuk melihat sejauh mana potensi dramatik Indang Piaman mampu memberikan kontribusi signifikan terhadap spektakel karya teater “Anggun Nan Tongga” karya Wisran Hadi. Penelitian ini diharapkan mampu menemukan berbagai aspek yang membentuk terciptanya potensi dramatik Indang Piaman pada karya teater “Anggun Nan Tongga”. 
Co-Authors Abbas, Ahrul Achmad Junaidi, Achmad Afrizal H, Afrizal H Agusalim, Agusalim Aisya, Diniya Khairani Alex Alex Alrizki , Muhammad Akhmal Amal, Fahri Amanda Amanda Andar Indra Sastra Andi Asnudin Anggraeni, Dya Arfiani Nur Ari Prasetyo Arif Rahman Nugroho Asike, Ades Asnaini Asnaini, Asnaini Awaludin, Azrul Afrillana Azumardi, Andri Noor Bay, Agus Zul BEDDU, MEGAWATI Bulaeng Baranita, Ratu Busman, Aqilah Luthfiah Cahyati , Berlian Dwie Dahlan lama bawa, Dahlan lama Dani, Dani Aulia Rahman Darmawan Salman Daru Sugati Edo, Trisno Elvira, Suci Erial Bahar Fadhli, Syahrizal Fajar Pasaribu fauzan, lazuardy akbar Fitri, Silviana H, Afrizal Hamid, Ismar Hardiana, Candra Dwi Haryudi, Andi Hasanah, Uswathun Hijrawati Hijrawati, Hijrawati Husen, La Ode Ilahi, Andi Alfianto Anugrah Intani, Alifia Lutfi Irham Irham Irsan Irsan Ishak Ishak Ismar Hamid Kamaruddin, Ilham Kasmawati Kasmawati Khafifa, Khafifa Kurniati, Nunung Lestari , Shifa Soraya Mahmud, Basri Mardiah Mardiah marisdina, selly Maswati Baharuddin Maulana , Anas Meilinda, Salsa Rizkia Melayu, Juliarni Muhammad Hasnawi Haddani Muhammad Rifani, Muhammad Muhammad Taufiq Muhammad, Sawedi Mustakimah , Wafiq Nadrun, Nadrun Nanda, Abd. Rakhim Nia Elisa Ginting NINGSIH, NENENG FITRIA Nirmalawati Nirmalawati Nur, Irawati Nurlinda Nurlinda, Nurlinda Nurnawaty, Nurnawaty Okparasta, Andika Olo , Tarno Bendre Patricia, Insani Pawennei, Mulyati Pratama, Muhammad Daffa Puspita, Yeza Rahman Dani, Dani Aulia Rahmat Hidayat Rahmat Nur Rahmidi, Rahmidi Rajiah, St Ramadhan, Ahmad Dani Ramdhani, Rahayu Fitrah Reski, Reski Riani Riani, Riani RINI INDAHWATI Rini Nindela, Rini Rustim Rustim Sahibe, Madania Sahrul N Sahrul, Sahrul Salim, Amat Agus Samsul Arifin Saputra, Deky Candra Saputra, Deky Chandra Saputri, Tamara Aulia Sari Saragih, Defica A. Sari, Vivi Cahya Permata Saskia, Anggun Sastra, Andar Sati, Indri Laras Sidik, Muh. Siti Zulaikha SITTI NURMADIA SUDARMONO SUDARMONO Sudirman, Randi Sugeng Sugeng Sugiharto, Henry Sugisman, Sugisman Supardi, Nasruddin SUSILAWATI, SUSI Syarifuddin Syarifuddin Tongeng, Andi Bunga Ummi Zahra, Ummi Verawati, Milka Veronica Selvia, Dewi Widaty, Cucu Yeni Wahyuni Yusnadi, Yusnadi