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Lakon Jurnal Pengkajian & Penciptaan Wayang
Published by Institut Seni Indonesia Surakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Education,
Education
Arjuna Subject : -
Articles 144 Documents
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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.
Ciri Estetik Humor Lakon Wahyu Makutharama Sajian Ki Suyati Purwo Carito Qohhar Dwi Hatmono; Bagong Pujiono
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4105

Abstract

One of the puppeteers who has an interesting sense of humor is Ki Suyati Purwo Carito in the wayang kulit purwa lakon Wahyu Makutharama. This article is to answer the problem of how the aesthetic form of humor in Ki Suyati Purwo Carito pakeliran. The method used include observation, literature study and interviews. The approach used is by looking at the humor from various techniques, such as riddle, ridicule, cunundurum, and others. The results obtained show that Ki Suyati’s specific humor shows his characteristic personality in presenting pakeliran. The humorous and vulgar dialogue but not striking, give the impression and message to the audience to always think intelligently without leaving the expectations of human imagination with his point of view.
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.
Karakterisasi Tokoh Suhartini Dalam Monolog Pengakuan Seorang Wanita Pemalu Karya Iswadi Pratama Tafsir Hudha
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4106

Abstract

The script for the Confession of a Shy Woman, the adaptation of the Iswadi Pratama script, is a monologue script, which is a form of single play or individual role art (which is the actor’s singularity) the conflict in the play must be able to be fully described. Monologue is considered as one of the peaks of personal (individual) acting ability which is used as a starting point for the strength of collective acting or ensemble acting, which is a form of acting which is a means of describing conflicts in theater that rests on ‘dialogue’ and is no longer just ‘monologue’. In creating the characterization of Suhartini’s character, it must be based on deepening the script to find the character’s vision, impulse or encouragement of the character, the character’s motivation and the emotional depth of the character. This requires work to explore the problems faced by the characters, formulate character characterizations and the next work is to transform character characterizations into the characters themselves. Such tracing requires analytic work on the script to be played, especially characterization analysis, further processing of the action, requires precision in order to achieve maximum results. Suhartini’s character in the manuscript Confession of a Shy Woman, is a picture of an introverted woman who has strong principles in life, and upholds her self-esteem, but has shy, pendian and anti-social characteristics.
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.
Seni Pertunjukan Sebagai Strategi Pencitraan Kota Studi Kasus Solo International Performing Arts (SIPA) Teti Darlenis
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v18i1.4107

Abstract

This research takes the title “PERFORMANCE ARTS AS A CITY IMAGING STRATEGY;Solo International Performing Arts (SIPA) Case Study. “The aim of this research is to understand the function and meaning of performing arts outside of artistic and aesthetic interests.In the context of this research, performing arts function as a city image strategy with a case study on the implementation of Solo International Performing Arts (SIPA).It is hoped that the SIPA performance will be able to become a city branding in Surakarta, which can then have multiple impacts or many benefits.
Begawan Durna Sang Maha Dwijo Sukatno Sukatno
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v19i1.4468

Abstract

Resi Drona or Begawan Durna whose name was Bambang Kumbayana was the son of Resi Baratwaja from the country of Atas Angin or the kingdom of Argajembangan with the goddess Kumbini. Resi Durna, in his youth, had studied with Begawan Ramabargawa. Resi Durna also has a brother named Arya Kumbayana and a sister named Dewi Kumbayani. Resi Durna, who is located in Sokalima hermitage, has a high-spirited and arrogant character. He is a well-spoken person, ingenuity, magic and is good at using heirlooms, besides that, Durna is also good at war tactics. In addition, Durna also has a magic heirloom in the form of a keris named Cundamanik and Sengkali arrows. Because of his supernatural powers and skills in military practice, Resi Durna was appointed and trusted by Begawan Bhisma to become the teacher of the Pandavas and Kauravas.
Nilai Kemanusiaan dalam Lakon Gojali Suta YB. Rahno Triyogo
Lakon Jurnal Pengkajian & Penciptaan Wayang Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/lakon.v19i1.4473

Abstract

Gojali Suto is one of the Lakon in wayang kulit purwa that tells the conflict of triangular love between Boma, Hagnyanawati, and Samba. The triangular love conflict ended tragically because it resulted in the death of the three conflicting characters. This study emphasizes analytical descriptive studies. The aim of this research is to describe human values by paying close attention to how they resolve the conflicts. The results of the study indicate that the values of humanity that stems from human dignity can be seen in the way of resolving conflicts faced by the characters in the story. Due to the lack of self-control, human values are discarded which cause the destruction. By looking at the way they respond to and resolve the problems they experience, their moral quality will be seen. There are two conclusions obtained from this study. The first is that a fragile personality can be easily influenced by negative forces that come from outside. Second, that the closest people or the most trusted people can become enemies that are not detected.

Page 8 of 15 | Total Record : 144

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