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INDONESIA
Lakon Jurnal Pengkajian & Penciptaan Wayang
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 7 Documents
 1 
Search results for , issue "Vol 18, No 2 (2021)" : 7 Documents clear
Unsur-Unsur Intrinsik Cerita Mahabharata dalam The Mahabharata Karya R.K. Narayan Dewi Nurnani
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4112

Abstract

The article entitled “The Intrinsic Elements of the Mahabharata Story in the Book of The Mahabharata by R.K. Narayan” examines how the intrinsic elements contained in the Indian novel by R.K. Narayan entitled The Mahabharata. This study uses a qualitative descriptive method with a literary approach through the study of the intrinsic elements of Nurgiyantoro. Data were obtained through literature study and direct interviews with puppet experts or puppeteers. The results of this study indicate that there are events, conflicts, and climaxes in the Mahabharata storyline with traditional themes, physical and spiritual settings, as well as protagonists and antagonists characters.
Konsep Regu pada Jejer Amarta dalam Pertunjukan Wayang Kulit Lakon Seno Dadi Ratu Sajian Ki Wardono Fani Dwi Nuriyanto
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4113

Abstract

Artikel ini membahas mengenai konsep regu pada jejer Amarta dalam pertunjukan wayang kulit lakon Seno Dadi Ratu sajian Ki Wardono. Suasana regu dalam jejeran dapat dihadirkan melalui penggunaan janturan dengan pelafalan ritmis serta pemilihan kata arkhais, ginem dengan tempo dan penekanan yang tepat. Selain itu, bentuk solah dan tancep boneka wayang yang lugas, pelungan, sulukan dhodokan dan keprakan serta penggunaan gendhing yang memiliki konsep ritmis dominan turut mewarnai suasana regu dalam adegan yang ditampilkan sebagai jejer sepisan. Suasana regu dipahami sebagai suasana yang agung, berwibawa, indah, dan khidmad.
Lakon Wahyu Makutharama sebagai Refleksi Penanaman Nilai-Nilai Pancasila Akhmad Rifqi Muawam
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4114

Abstract

This article discusses the correlation between wayang and Pancasila’s values   also the potential of Chapter Makutharama as a means of conveying the meaning of Pancasila. The method used in this discussion is the case study method, so that the deepening of the elements of wayang can be found in its potential as a means of conveying Pancasila. The results showed that in general fact both the puppets and the Pancasila  had similarities in their content, namely humanity. Further examination of the complexity of the puppets shows that every point of the Pancasila’s precepts is also included in the puppet. The knowledge of Hastha Brata that contained in the Chapter Wahyu Makutharama is able to convey the values   of Pancasila. The insight about leadership qualities which refers to the eight characteristics of the natural elements, namely: sun, moon, stars, clouds, earth, ocean, fire, and wind, is proven to reflect the Pancasila. With the complexity of wayang’s elements, Hastha Brata in Chapter Wahyu Makutharama can be used as an aesthetic contemplation. The delivery of the meaning of Pancasila in this new way is expected to be a turning point for the return of Pancasila in every people’s life of the Unitary State of the Republic of Indonesia.
Penciptaan Lakon Parashurama Aan Bagus Saputro; Jaka Rianto
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4110

Abstract

The presentation of Parashurama, universally, tells about the loyalty, dharma of life and tolerance possessed by the figure of Rama Bargawa. The message conveyed in this Lakon Parashurama is about the great respect for the country and parents. Parashurama’s creation uses the form of pakeliran padat with the methods of observation, interviews and data analysis. The results show that Parashurama’s work is able to provide a presentation with complex problems in life, namely loyalty. Parashurama’s inner conflict between the two choices is solved by holding on to the dharma that must be held in life.
Struktur Dramatik Lakon Baratayuda Episode Bisma Gugur Sajian Joko Santosa Sakti Mahardika Surya Dwi
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4115

Abstract

Penelitian berjudul Struktur Dramatik Lakon Baratayuda Sajian Joko Santosa” bertujuan mengungkap permasalahan tentang: (1) Bagaimana struktur dramatik lakon Baratayuda episode Bisma Gugur, Ranjapan Abimanyu, Suluhan Gatutkaca sajian Joko Santosa. Analisis struktur dramatik lakon Baratayuda sajian Joko Santosa dikupas menggunakan teori yang dikemukakan oleh Sumanto. Penelitian ini bersifat deskriptif kualitatif dengan langkah-langkah menentukan lokasi dan waktu penelitian, teknik pengumpulan data (studi pustaka, pengamatan secara langsung, pengamatan terhadap rekaman audio visual, wawancara kepada narasumber), dan teknik analisis data. Hasil penelitian berupa  struktur dramatik lakon Baratayuda sajian Joko Santosa, meliputi: alur, penokohan (penampilan fisik dan nonfisik, pikiran/perasaan/kehendak, ujaran atau ucapan, tindakan atau perilaku, benda lain di luar tokoh), setting (aspek ruang, aspek waktu, aspek suasana), tikaian atau konflik, tema, dan amanat.
Sanggit dan Garap Lakon Banjaran Anoman Sajian Muh. Pamungkas Prasetyo Bayu Aji Muhammad Alvian; Suwondo Suwondo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4111

Abstract

This scientific thesis took the title of Sanggit and Garap in the Lakon Banjaran Anoman serving Muhammad Pamungkas Prasetyo Bayu Aji The problem revealed in this study is (1). What is the depiction of Anoman from various literature? (2). How does Sanggit and working on Lakon Banjaran Anoman serving Muhammad Pamungkas Prasetyo Bayu Aji? This research is qualitative research, data obtained through library studies, observations, and later interviews, validity. The step is to use Sugeng Nugroho’s exposure theory of sanggit discussion and work. The theory was used to examine the idea of work and implementation in Banjaran Anoman. The results obtained after conducting this study are descriptions of Anoman figures from various literatures both written and oral, sanggit analysis correlated with the text of the hypogram, the structure of the scene, the support, themes and mandates, as well as the work that is divided into: chess work, sabet work, work and embroidery that is found in banjaran anoman play. The clarification forms are (1) sanggit and catur work including janturan (janturan jejer and janturan adegan), pocapan (event pocapan and transitional pocapan), (2) sanggit and sabet work used are representative and thematic sabets used in the line scenes, (3) sanggit and gending include gending snares, gending scenes, and gending waran, and (4) sanggit and work on sulukan which includes pathetan , sendhon, and no-one.
Kontekstualisasi, Rekontekstualisasi, dan Dekontekstualisasi Pertunjukan Wayang Kulit sebagai Langkah Pembinaan Penonton Wayang Kulit Timbul Subagya
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i2.4116

Abstract

The presence of the audience in arts performance is generally a hope for the art presenters. It is due to the principle that a work of art that is performed aims to convey messages of values to the community. Therefore, the presence of the audience in performing arts needs to be built. In this paper, several steps are presented relating to the audience building especially for the wayang kulit show. The steps include the concepts of contextualization, recontextualization and decontextualization in wayang kulit performances. Through the audience building, it is hoped that the community will always be present every time the art is performed. it is also hoped that, through the three concepts, public enthusiasm for appreciating wayang kulit show will be maintained.

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