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<![CDATA[Wayang Beber Lakon “Joko Kembang Kuning” Garap Kontemporer Sebagai Upaya Pelestarian Dan Pengembangan Seni Tradisi ]]>
<![CDATA[Suratno Suratno]]>;
<![CDATA[Jaka Rianto]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 16, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v16i2.3813
<![CDATA[The writting aims at describing the model consept of script writting on wayang beber‘s performance on contemporary approach as the way to do preservation and cultivation of the tradisional performing art which is nowday almost extinct. This model consept of script writting will be clarified through how to treat the character of Panji Asmarabangun and Sekartaji as the main characters in the story of “Joko Kembang Kuning”. The clarification will be answering the questions on: (1) how is the synopsis; (2) how is the structure of scenes; (3) How is the course of story and the progress of dramatics; and (4) how is the characteristic of each character on the story.]]>
<![CDATA[Sasmita Gendhingdalam Pakeliran: Dulu Dan Kini ]]>
<![CDATA[Sri Harti]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 16, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v16i2.3808
<![CDATA[Sasmita gendhing is a series of words that refer to the name of the gendhing as the accompaniment of Wayang Kulit Purwa. When the wayang kulit performance refers to the overnight performance of the palace pakeliran genre, sasmita gendhing becomes a bridge between the puppeteer and the pengrawit to sound the gendhing to support certain scenes. In its development, the existence of the sasmita gendhing slowly declined, even most of the puppeteers no longer used the sasmita gendhing. The text-context approach from Heddy Shri Ahimsa is used to reveal the variety of sasmita gendhings and to find the causes for the decline in the use of sasmita gendhing. The result of the study shows the various forms of sasmita gendhing including figurative words, wangsalan, and cangkriman. Meanwhile, the cause of the decline in the use of sasmita gendhing is suspected to be due to the change of image, the free structure of the scenes, the free choice of lakon, and cross style of pakeliran.]]>
<![CDATA[Persepsi Penonton Terhadap Pentas Pertunjukan Wayang Yayasan Kertagama Jakarta ]]>
<![CDATA[Sudarsono Sudarsono]]>;
<![CDATA[Harijadi Tri Putranto]]>;
<![CDATA[ER Elis Noviati Dewi Mariani]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 16, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v16i2.3809
<![CDATA[In 2010, the Kertagama Foundation in collaboration with ISI Surakarta organized a puppet show. Research on puppet show audiences has been extremely rare. The approach used in this study belongs to Talcott Parson's thinking about the functional theory of action. The results of the study tell that the audience comes from different ages and different social status. The school age sees wayang because of their parents. the adolescent audience sees wayang to add their knowledge related to the art education they are learning. The adult audience sees wayang performances as a hobby to satisfy themselves. By watching a puppet show, adults feel that they have learned about life lessons so that they can become spiritually satisfied. Among the audiences, there are groups of them who just watch wayang performances, for example accompanying their girlfriends, their employers, or their parents.]]>
<![CDATA[Muksa Dalam Pamuksa ]]>
<![CDATA[YB Rahno Triyogo]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 16, No 2 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v16i2.3810
<![CDATA[Pamuksa is Lakon which tells that heaven and hell are choices. Heaven is togetherness with the divine, the source of life, while hell is the separation of humans from the divine which is synonymous with eternal suffering, which is also known as eternal death. The purpose of this paper is to solve problems related to moral values contained in the wayang lakon Pamuksa. This article takes a moral approach. Based on this approach, the result shows that, firstly, humans will get happiness if they prioritize heavenly values in their lives. Secondly, the filial piety of children towards parents has great power or power in saving parents from eternal suffering.]]>
<![CDATA[Unsur-Unsur Intrinsik Cerita Mahabharata dalam The Mahabharata Karya R.K. Narayan ]]>
<![CDATA[Dewi Nurnani]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i2.4112
<![CDATA[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.]]>
<![CDATA[Konsep Garap Pakeliran “Wayang Tunggal” Lakon Sudamala Sajian Ki Purbo Asmoro (Relevansi Wayang Sebagai Doa Dalam Fenomena Covid19) ]]>
<![CDATA[Catur Nugroho]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i1.4103
<![CDATA[This study discusses the wayang performance which is only performed by a dalang alone. The show was referred to as “Wayang Tunggal”. The focus of this research is Wayang Tunggal, Sudamala play, Ki Purbo Asmoro’s presentation. This performance was interesting because it appeared against the backdrop of the Covid-19 pandemic situation. The Sudamala play is a Ruwatan play which means story as a prayer. This study uses an interpretive descriptive concept to discuss the concept of working on pakeliran, including elements of chess, sabet, and pakliran karawitan. The Covid-19 pandemic virus forces almost all elements of life to avoid crowds, while maintaining a safe distance. The single shadow puppet show by Ki Purbo Asmoro is an expression of a very sad reality for both the public in general and the artists in particular. Sudamala’s play is an expression of prayer and hope that the world situation will recover soon, so that everyone can carry out their activities as usual.]]>
<![CDATA[Eskatologis Dalam Wayang Purwa: Studi Kasus Kematian Pandu ]]>
<![CDATA[YB Rahno Triyogo]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i1.4108
<![CDATA[Eschatology is a branch of science that talks about the final things of human life, namely death and life after death. Pandu is a character who experiences a new life after experiencing death. According to the classical view, he should be in hell forever, but because of the struggle of his second son named Bratasena and Permadi, he was freed from hell and obtained a heavenly life. The methods used were data collection, literature study, and interviews. An eschatological approach was used and the result was that Pandu experienced hell suffering because of his speech. denying speech (hypocrisy). Bratasena’s struggle in trying to free his parents from hell reflects his devotion to his parents. Together with Arjuna, his sister and the angels they managed to penetrate the heavens of the throne of the gods. Their struggle can be understood as an inner dialogue, or human prayer with the Creator asking for deliverance.]]>
<![CDATA[Konsep Regu pada Jejer Amarta dalam Pertunjukan Wayang Kulit Lakon Seno Dadi Ratu Sajian Ki Wardono ]]>
<![CDATA[Fani Dwi Nuriyanto]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i2.4113
<![CDATA[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.]]>
<![CDATA[Krodha Krura Tokoh Bathari Durga Wayang Purwa ]]>
<![CDATA[Andi Wicaksono]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i1.4104
<![CDATA[This article discusses the meaning of the Rakessi form of the figure Bathari Durga in the wayang kulit purwa. The discussion uses Paul Ricoeur’s hermeneutic meaning analysis which emphasizes the terminology aspect. The meaning analysis is carried out by reading through the events of the character Bathari Durga in several texts of lakon in the wayang kulit purwa play, then analyzing the existence of the terminology aspects of ‘raksasa’, ‘raksesi’, ‘buta’ and ‘diyu’ with other phenomena in the text of lakon. The results of the analysis show that the form of raksesi does not mean the same as the understanding of low-level creatures, cruel, and filled with dark traits. The divine capacity as the main goddess is still visible in the text of lakon in wayang purwa with the capacity as isthadewata, so that her personal capacity is still at a high level. The form of raksesi with the name Durga with the title ‘bathari’ represent a blend of aspects ‘krodha’ and ‘krura’ in the style of worshiping ‘sakti’ in the form of ‘Bhairawi Shiva’.]]>
<![CDATA[Makna Dasanama Dalam Garap Catur Pertunjukan Wayang Gaya Surakarta ]]>
<![CDATA[Suwondo Suwondo]]>
<![CDATA[ Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/lakon.v18i1.4109
<![CDATA[This study aims to find the meaning of the words dasanama and their classification in catur of wayang kulit performance of Surakarta style. Dasanama is a number of vocabularies that have the same or almost the same meaning and is used in the world of puppetry to give reinforcement to the meaning of a word and can also make the catur aesthetic. Nowadays dasanama is starting to be forgotten by the young dalang, therefore it is necessary to identify, classify, and explain its meaning so that it is easy to be used by the younger generation of dalang. The analytical methods used are: (1) identifying the names of the words in catur of the wayang kulit of Surakarta style; (2) classifying dasanama words based on their word references; (3) analyzing the denotative and connotative meanings of dasanama words in catur; (4) evaluating the analysis results; (5) presenting the report; and (6) compiling scientific articles. The results of the analysis show that the dasanama are divided into the classification of gods, humans, animals, and objects.]]>
