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All Journal Jurnal Pendidikan Karakter JAWARA (Jujur, Adil, Wibawa, Amanah, Religius, Akuntabel) Panggung Gelar : Jurnal Seni Budaya Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM) Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Panggung
Samodro, Wisnu
INSTITUT SENI INDONESIA SURAKARTA
Arts Humanities Education

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Kajian Tekstur Dramatik Lakon Mintaraga Sajian Wayang Wong Sriwedari Wisnu Samodro
Gelar : Jurnal Seni Budaya Vol 17, No 1 (2019)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2759.129 KB) | DOI: 10.33153/glr.v17i1.2601

Abstract

ABSTRAK Penelitian berjudul “ Kajian Tekstur Dramatik Lakon Mintaraga Sajian Wayang Wong Sriwedari” merupakan penelitian kualitatif dengan cara melihat pertunjukan dan menganalisis menggunakan teori Tekstual. Teori ini dikemukakan oleh Satoto yang mengungkapkan bahwa tekstur dramatik adalah sesuatu yang terindera. Hasil penelitan ini mengungkap berbagai elemen pertunjukan meliputi dialog, iringan musik dan spektakel. Dialog dapat didengar pilah atau tidaknya yang disesuaikan dengan karakter tokoh yang dimainkan, iringan musik dapat didengar dan dikaji mengenai keselarasan dengan adegan yang dimainkan sedangkan spektakel dapat dilihat dengan indera penglihatan mengenai bentuk setting, properti dan tata cahaya yang digunakan dalam pertunjukan Wayang Wong Sriwedari Lakon Mintaraga. Kata kunci: Tekstur dramatik, Dialog, Spektakel.  ABSTRAKThe research entitled “Kajian Tekstur Dramatik Lakon Mintaraga Sajian Wayang Wong Sriwedari” is a qualitative research by looking at performances and analyzing using Textual theory. This theory was put forward by Satoto. It says that dramatic texture is something that is sensed. The results of this research reveal the various elements of the show including dialogue, musical accompaniment and spectacles. Dialogue can be heard according to the characters being played, musical accompaniment can be heard and studied in harmony with the scene played, while the spectacle can be seen regarding to the form of setting, properties and lighting used in the Wayong Wong Sriwedari performance lakon Mintaraga . Keywords: Dramatic Texture, Dialogue, Spectacles.
Struktur Dramatik Lakon “Mintaraga” Sajian Wayang Wong Sriwedari Wisnu Samodro; Sarwanto Sarwanto
PANGGUNG Vol 29, No 1 (2019): Pegeseran Estetik Dalam Seni Budaya Tradisi Masa Kini
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (179.137 KB) | DOI: 10.26742/panggung.v29i1.816

Abstract

AbstractThis research examines the dramatic structure of the Wayang wong Sriwedari performance in the Mintaraga story. Mintaraga story is composed of Serat Arjuna Wiwaha by Empu Kanwa and is the third part of Mahabharata Book. The Mintaraga is one of the most interesting plays to study in its dramatic structure. This research is qualitative with descriptive analysis. The concepts used in the analysis processes are the classification of characters by Sutopo, Freytag’s Pyramid, and the plotting concept by Endaswara. The results show that the Mintaraga play uses protagonist characters, antagonist, tritagonist, and some supporting or additional characters that have a function to give a clearer picture related to the story to be conveyed. In addition, the performances of Wayang wong can be divided into five acts based on the Freytag Pyramid, which includes exposition, complication, climax, resolution, and conclusion.Keywords: dramatic structure, Mintaraga story, Freytag PyramidAbstrakPenelitian ini mengkaji struktur dramatik pementasan Wayang Wong Sriwedari Lakon “Mintaraga”. Lakon “Mintaraga” sendiri merupakan gubahan dari Serat Arjuna Wiwaha karya Empu Kanwa dan bagian ketiga dari Kitab Mahabarata. Lakon Mintaraga menjadi salah satu lakon yang menarik untuk dikaji struktur dramatiknya. Penelitian ini merupakan penelitian deskriptif kualitatif yang berupaya untuk menggambarkan atau menjelaskan suatu fenomena dengan menggunakan kata-kata. Analisis data menggunakan konsep klasifikasi tokoh dari Sutopo, Piramida Freytag, dan kaidah pengeplotan oleh Endaswara. Hasil penelitian menunjukkan bahwa pementasan lakon “Mintaraga” menggunakan tokoh-tokoh protagonis, antagonis, tritagonis dan beberapa tokoh pendukung atau tambahan yang memiliki fungsi untuk memberikan gambaran yang lebih jelas terkait dengan cerita yang ingin disampaikan. Selain itu, pementasan wayang wong tersebut dapat dibagi menjadi lima babak yang didasarkan pada Piramida Freytag, yang meliputi exposition, complication, climax, resolution, dan conclusion.Kata Kunci: struktur dramatik, lakon Mintaraga, Piramida Freytag 
Struktur Dramatik Lakon “Mintaraga” Sajian Wayang Wong Sriwedari Wisnu Samodro; Sarwanto Sarwanto
PANGGUNG Vol 29 No 1 (2019): Pegeseran Estetik Dalam Seni Budaya Tradisi Masa Kini
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v29i1.816

Abstract

AbstractThis research examines the dramatic structure of the Wayang wong Sriwedari performance in the Mintaraga story. Mintaraga story is composed of Serat Arjuna Wiwaha by Empu Kanwa and is the third part of Mahabharata Book. The Mintaraga is one of the most interesting plays to study in its dramatic structure. This research is qualitative with descriptive analysis. The concepts used in the analysis processes are the classification of characters by Sutopo, Freytag’s Pyramid, and the plotting concept by Endaswara. The results show that the Mintaraga play uses protagonist characters, antagonist, tritagonist, and some supporting or additional characters that have a function to give a clearer picture related to the story to be conveyed. In addition, the performances of Wayang wong can be divided into five acts based on the Freytag Pyramid, which includes exposition, complication, climax, resolution, and conclusion.Keywords: dramatic structure, Mintaraga story, Freytag PyramidAbstrakPenelitian ini mengkaji struktur dramatik pementasan Wayang Wong Sriwedari Lakon “Mintaraga”. Lakon “Mintaraga” sendiri merupakan gubahan dari Serat Arjuna Wiwaha karya Empu Kanwa dan bagian ketiga dari Kitab Mahabarata. Lakon Mintaraga menjadi salah satu lakon yang menarik untuk dikaji struktur dramatiknya. Penelitian ini merupakan penelitian deskriptif kualitatif yang berupaya untuk menggambarkan atau menjelaskan suatu fenomena dengan menggunakan kata-kata. Analisis data menggunakan konsep klasifikasi tokoh dari Sutopo, Piramida Freytag, dan kaidah pengeplotan oleh Endaswara. Hasil penelitian menunjukkan bahwa pementasan lakon “Mintaraga” menggunakan tokoh-tokoh protagonis, antagonis, tritagonis dan beberapa tokoh pendukung atau tambahan yang memiliki fungsi untuk memberikan gambaran yang lebih jelas terkait dengan cerita yang ingin disampaikan. Selain itu, pementasan wayang wong tersebut dapat dibagi menjadi lima babak yang didasarkan pada Piramida Freytag, yang meliputi exposition, complication, climax, resolution, dan conclusion.Kata Kunci: struktur dramatik, lakon Mintaraga, Piramida Freytag 
Pemberontakan Gunarto: Analisis Tokoh Anak dalam Ayahku Pulang dari Perspektif Psikologi Remaja Wisnu Samodro
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 2 No. 3 (2025): Mei : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v2i3.595

Abstract

The drama Ayahku Pulang is able to describe Indonesian families during the colonial era. This story is very stressful between family members. One of the people who experiences the most spiritual turmoil is Gunarto, a young man who is now an adult. Gunarto shows a tough, cynical nature, and does not accept his parents back who are no longer worthy of being his mainstay. In this context, the character of Gunarto is a very interesting literary object for research among teenagers. His position is so important for research on adolescent psychology because at this time they are in the midst of an identity crisis, regarding the search for identity. The purpose of this study is to analyze the character of Gunarto as a representation of the inner conflict of adolescents in the drama Ayahku Pulang using Erikson's development theory. According to Eriksonian theory, adolescence is in search of identity through protest against wrong roles. Gunarto in this case is compared with a character who not only faces external conflict in his relationship with his father, but also internal conflict about the child's self-awareness, feelings of disappointment, and the need for emotional stability. The method used in this study is a qualitative method with drama text analysis techniques. Data obtained from the original manuscript of Ayahku Pulang were analyzed descriptively-analytically to explore the dynamics of Gunarto's psychology holistically. From this study, the importance of understanding the psychology of adolescence in literary works, especially when it comes to the relationship between parents and children. Gunarto's character is the voice of a wounded youth. This study focuses on literary psychology and is codified in Indonesian families. This scope opens up criticism of the role and how consistent the parental figure is in developing the identity of the younger generation.
Fungsi Multimedia dalam Pembuatan Setting dalam Pertunjukan Ketoprak Modern Wisnu Samodro
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 1 (2025): April : Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i1.6095

Abstract

Ketoprak as a form of traditional Javanese theater has the characteristics of historical storytelling or legend supported by artistic elements such as music, dialogue, clothing, and stage settings. In its development towards a modern form of ketoprak, the use of multimedia technology has become one of the significant innovations, especially in the creation of performance settings. This article examines in depth the function of multimedia in supporting the creation of modern ketoprak settings, both from aesthetic, dramatic, and production efficiency aspects. This study uses a qualitative descriptive method with data collection through observation of ketoprak performances that integrate multimedia, in-depth interviews with directors, artistic stylists, and multimedia technicians, and literature studies that discuss contemporary performing arts. The results of the study show that multimedia plays an important role in building richer imaginative atmospheres and spaces and allows for the depiction of complex settings such as palaces, forests, or battlefields quickly and effectively. In addition, multimedia expands visual possibilities through projection of images, videos, and dynamic light effects that cannot be achieved with traditional physical properties alone. The multimedia function has also been proven to enhance the viewer experience by presenting a more modern visual sensation without losing the traditional identity of ketoprak. These findings indicate that multimedia serves not only as a complement, but also as an integral element that influences the overall aesthetic, reinforces dramatic messages, and facilitates transitions between scenes.
Drama Radio Untuk Pembentukan Karakter Anak Samodro, Wisnu
Jurnal Pendidikan Karakter JAWARA (Jujur, Adil, Wibawa, Amanah, Religius, Akuntabel) Vol 11, No 1 (2025)
Publisher : Jurnal Pendidikan Karakter JAWARA (Jujur, Adil, Wibawa, Amanah, Religius, Akuntabel)

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Pembentukan karakter anak merupakan aspek penting dalam pendidikan yang dapat menentukan kualitas generasi masa depan. Dalam era digital yang semakin berkembang, berbagai media digunakan untuk menanamkan nilai-nilai moral dan etika pada anak-anak. Salah satu media yang memiliki potensi besar tetapi kurang mendapat perhatian adalah drama radio. Drama radio merupakan bentuk seni yang menggabungkan unsur narasi, dialog, musik, dan efek suara untuk menyampaikan cerita yang dapat merangsang imajinasi dan pemikiran anak-anak.Penelitian ini bertujuan untuk menganalisis efektivitas drama radio dalam membentuk karakter anak serta mengidentifikasi nilai-nilai moral yang dapat ditanamkan melalui media ini. Dengan menggunakan pendekatan kualitatif, penelitian ini mengkaji berbagai naskah drama radio yang telah disiarkan, menganalisis respons anak-anak terhadap program tersebut, serta menggali perspektif orang tua dan pendidik mengenai manfaatnya dalam pembentukan karakter.Hasil penelitian menunjukkan bahwa drama radio memiliki beberapa keunggulan dalam membangun karakter anak, di antaranya adalah kemampuannya untuk meningkatkan keterampilan mendengar, mengasah daya imajinasi, serta memperkenalkan nilai-nilai seperti kejujuran, tanggung jawab, kerja sama, dan empati. Selain itu, drama radio dapat diakses dengan mudah, tanpa memerlukan perangkat visual, sehingga mengurangi risiko kecanduan layar yang menjadi salah satu tantangan besar dalam perkembangan anak di era digital.Namun, terdapat beberapa tantangan dalam penerapan drama radio sebagai sarana pembentukan karakter, seperti kurangnya ketersediaan program berkualitas, keterbatasan minat anak terhadap media berbasis audio, serta persaingan dengan platform digital yang lebih interaktif. Oleh karena itu, diperlukan strategi inovatif, seperti integrasi drama radio dengan platform digital yang lebih modern, serta kolaborasi antara pendidik, penyiar radio, dan kreator konten untuk menciptakan program yang menarik dan edukatif bagi anak-anak.Kesimpulannya, drama radio masih memiliki relevansi sebagai media pembentukan karakter anak jika dikemas secara kreatif dan disesuaikan dengan preferensi generasi saat ini. Dengan pendekatan yang tepat, drama radio dapat menjadi alat yang efektif dalam menanamkan nilai-nilai positif serta membentuk kepribadian anak yang berkarakter kuat di masa depan.Kata kunci: drama radio, pembentukan karakter, anak, pendidikan moral, media audio.
Struktur Dramatik Lakon “Retna Paniti” dalam Pertunjukan Wayang oleh Mariyanto Nugraha, Pulung Wicaksana; Sunardi, Sunardi; Samodro, Wisnu; Wicaksono, Andi
Jurnal Riset Rumpun Seni, Desain dan Media Vol. 4 No. 2 (2025): Oktober: Jurnal Riset Rumpun Seni, Desain dan Media
Publisher : Pusat Riset dan Inovasi Nasional

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/jurrsendem.v4i2.7374

Abstract

This study aims to reveal and describe the dramatic structure of the Retna Paniti play as performed by Mariyanto, a puppeteer from Ngawonggo, Klaten. The research was conducted because the performance presents a distinctive dramatic form that differs from the conventional structure of the Surakarta-style pakeliran. This study employs a qualitative approach with a descriptive-analytical method, focusing on the analysis of scene sequences and the interrelation among dramatic elements. Data were collected through literature review, observation of the 2018 performance recording, and in-depth interviews with informants familiar with Mariyanto’s puppetry style. The findings indicate that the dramatic structure of Retna Paniti in Mariyanto’s version follows a pattern close to Freytag’s Pyramid theory, yet adapted to the folk puppetry tradition of the Ngawonggo substyle. The performance opens with the battle scene between Gatotkaca and Baladewa, creating immediate tension, which contrasts with the Surakarta-style convention that typically begins with the jejer scene. The dramatic flow progresses from exposition to falling action and culminates in the achievement of harmony. The central theme emphasizes ethical values concerning harmony, loyalty, and self-control in social life, maintaining its relevance in contemporary society.
Co-Authors Andi Wicaksono Nugraha, Pulung Wicaksana Sarwanto Sarwanto Sunardi Sunardi