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All Journal Proceeding of International Conference on Art, Language, and Culture Gondang: Jurnal Seni dan Budaya Gelar : Jurnal Seni Budaya Srawung: Journal of Social Sciences and Humanities
I Nyoman Murtana
Institut Seni Indonesia Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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MITOS TOKOH PEREMPUAN LAKON ABDULMULUK JAUHARI TEATER DULMULUK TUNAS HARAPAN Tri Puji Handayani; I Nyoman Murtana
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (387.395 KB) | DOI: 10.33153/glr.v15i2.2220

Abstract

Penelitian berjudul “Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan” ini menganalisis tentang tokoh perempuan yang dimainkan oleh aktor laki-laki dan mitos tokoh perempuan dalam lakon Abdulmuluk Jauhari. Dengan menggunakan teori semiotika untuk menjawab permasalahan tersebut maka peneliti membuat pertanyaan dalam rumusan masalah yang berkaitan dengan: bagaimana materi mitos wicara tokoh perempuan dalam lakon Abdulmuluk Jauhari pertunjukan teater Dulmuluk kelompok Tunas Harapan. Penelitian ini menggunakan teori semiotika Roland Barthes untuk melihat analisis tokoh perempuan dalam lakon Abdulmuluk Jauhari. Hasil penelitian ini memberikan pemahaman yaitu (1) Tokoh perempuan yang dimainkan oleh aktor laki-laki menampilkan sosok perempuan dengan menggunakan kostum, make-up, hair style, gerak dan nada yang menyerupai perempuan. Tunas Harapan dalam menampilkan tokoh perempuan melalui aktor laki-laki memiliki simbol-simbol kebudayaan yang disampaikan melalui tokoh perempuan. (2) Tunas Harapan menampilkan tokoh perempuan berdasarkan ideologi gender yang menghadirkan mitos perempuan, yaitu perempuan sebagai kesetaraan gender, perempuan sebagai sosok pemberani, perempuan sebagai sosok penguasa, dan perempuan sebagai penyelamat.Kata kunci: Teater Dulmuluk, Tokoh Perempuan, Mitos.The research entitled “ Mitos Tokoh Perempuan Lakon Abdulmuluk Jauhari Teater Dulmuluk Tunas Harapan “ analyzed the female characters played by male actors and the myth of a female character in Abdulmuluk Jauhari’s play. By using semiotic theory to answer these problems, the researcher makes a question in the formulation of the problem related to: how is the material of the myth of the talk of female characters in Abdulmuluk Jauhari’s play Dulmuluk theater group Tunas Harapan. This study uses Roland Barthes’s semiotic theory to look at the analysis of female characters in Abdulmuluk Jauhari’s play. The results of this study provide understanding, namely (1) The female figure played by male actors displays a female figure using costumes, make-up, hair styles, movements and tones that resemble women. Tunas Harapan in presenting female characters through male actors has cultural symbols conveyed through female characters. (2) Tunas Harapan presents women leaders based on gender ideology that presents myths of women, namely women as gender equality, women as brave figures, women as figures of rulers, and women as saviors.Keywords: Theater Dulmuluk, Female Leader, Myth.
SUTRADARA DJAKA HARJANTO PERTUNJUKAN HARDHASANGKARA WAYANG ORANG RRI SURAKARTA Muhamad Alifi; I Nyoman Murtana
Gelar : Jurnal Seni Budaya Vol 15, No 2 (2017)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (757.214 KB) | DOI: 10.33153/glr.v15i2.2213

Abstract

Hasil penelitian menunjukkan bahwa sutradara wayang orang merupakan sebuah jabatan untuk mendidik, mengajar, membimbing, mengarahkan, melatih, menilai, dan mengevaluasi pertunjukan wayang orang. Sutradara fungsinya sebagai pendidik menyampaikan pengetahuan yang telah dimiliki kepada semua pemain. Figur seniman tradisi yang melekat pada diri Joko Harjanto karena profesionalisme yang dimiliki untuk melestarikan budaya tradisi wayang orang. Saat ini hiburan berkembang cukup pesat, mendobrak nilai budaya masyarakat. Figur seniman tradisi berperan aktif menyelamatkan dan kembali pada akar budaya pertunjukan wayang orang. Sesuai dengan semangat RRI Surakarta yang lebih mengutamakan nilai-nilai budaya yang sudah ada dimasyarakat dari pada menciptakan budaya baru dalam seni pertunjukan.Kata kunci: Wayang Orang, Hardhasangkara, Sutradara.  The results of the study show that the director of wayang orang is a position to educate, to teach, to guide, to direct, to train, to assess, and to evaluate the performances of wayang orang. The director functions as an educator conveys the knowledge that has been shared with all presenters. A traditional artist who is attached to Joko Harjanto because of the professionalism he has to preserve the culture of wayang orang traditions. At present entertainment is growing quite rapidly, breaking the cultural value of society. Traditional artist figures play an active role in saving and returning to the cultural roots of the wayang orang. It is In accordance with the spirit of RRI Surakarta which prioritizes the cultural values that already exist in the community rather than creating a new culture in the performing arts.Keywords: Wayang Orang, Hardhasangkara, Director.   
THE IMPLICATION OF PLUSES AND MINUSES OF RAHWANA’S BEHAVIOR TOWARDS INDONESIAN MODERN SOCIAL LIFE I Nyoman Murtana
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Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (903.814 KB)

Abstract

Rahwana – the King of Alengka in the wayang story of Nusantara is the king of the three worlds. The lower realm is inhabited by jinns, demons, the centre realm is inhabited by humans, and the upper realm is the nature of the Gods. Rahwana was a hermit and devoted worshiper to Shiva. He was given abundant gifts of supernatural powers and wealth. The Palace of the King of Alengka was very magnificent. The people were prosperous. Rahwana did everything he wanted to have. He could not be killed by anyone and with anything. If he was killed by the enemy, Rahwana would soon come back to life, because he had drunk an eternal drink from the God residing in his soul. That is why Rahwana was acting arbitrarily, without needing ethics. Rahwana could mate with other women he liked, even though they were married. The women of his choice were willing to date, for fear of threats. However, Rahwana's service was very satisfying. The husbands of the women he dated were silenced with property. The husband was afraid of his wife and king. That is one proof that God is the most merciful to the faithful devotees, without having to curb behavior with social rules, except the law of karma. The people of Alengka were free to express themselves, but they must be morally responsible. Law enforcers can be richer than entrepreneurs, because legal processes could be bought. The Unitary State of the Republic of Indonesia is inhabited by a diverse ethnic group with various languages and cultures. The Javanese, Sundanese, Lombok, and Balinese tribes are fond of watching the tradition of puppet show as a source of educational value and a reference to social behavior even though the Indonesian people live in a modern way characterized by industrial culture. This article aimed to find out the implications of the pluses and minuses of the behavior of Rahwana figure towards modern Indonesian society. Qualitative method is considered appropriate for data collection with the application of conflict theory. Through this theory, it is expected that there will be a motive for social conflict in modern Indonesian society.
Perspektif Hipersemiotika pada Pertunjukan Sori in the Land of Lembuna Karya Flying Balloons Puppet dan Gwen Knox Alma'ieda Alma'ieda; I Nyoman Murtana
Gondang: Jurnal Seni dan Budaya Vol 5, No 2 (2021): GONDANG: JURNAL SENI DAN BUDAYA, DESEMBER 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (360.138 KB) | DOI: 10.24114/gondang.v5i2.29567

Abstract

Sori in the Land of Lembuna Performance by Flying Balloons Puppet and Gwen Knox presenting a discourse of river habitat polution phenomenon packed as explorative and imaginative. Analytical method done with hypersemiotic perspective which qualitative interpretative. The review on signs that were present in the performance is done with hypersemiotic perspective. Hypersemiotic perspective analysis used are content of recycled signs that were present in the performance. Lembuna is a character representing the myth of Lembudana and Lembudini, as a past reality, recontextualized into present reality in the form of a Plastic Monster as a representative of environmental pollution from plastic wastes piling up in the river ecosystem. The present of both merge into new reality in the form of a performance, so between signs and reality, even reality and non reality are hard to be distinguished.
SPOKEN THEATRE ACEH OF PMTOH PEUGAH HABA DEVELOPED BY TEUNGKU H. ADNAN: SPECTACLES STUDY Afifuddin Afifuddin; Sarwanto Sarwanto; I Nyoman Murtana
Srawung (Journal Of Social Sciences And Humanities) Vol. 2 Issue. 3 (2023)
Publisher : jfpublshier

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.56943/jssh.v2i3.376

Abstract

Peugah Haba is an oral literary art from Manggeng, Aceh. The tradition was adapted to a performance art by Mak Lapee in 1950 and then developed and popularised by Teungku H. Adnan since 1964. He called his theatre as PMTOH, the idea came from when he often rode the PMTOH bus when selling medicine, he was impressed by the sound of its horn and then practised it in every performance during Peugah Haba in Aceh. The theatre presented by Teungku Adnan is probably spectacles in a general, objective perspective. Therefore, this research is conducted to analyse the existence of props, costumes, and acting as part of the spectacle of peugah haba performed by Teungku Adnan PMTOH. The methodology used in this research is descriptive qualitative method. Meanwhile, in obtaining the data the researcher used documentary technique. The result of this research indicated that this spectacle addition brings novelty to the narration of the epic of Teungku Adnan theatre, especially in Acehnese hikayat. In addition, the existence of properties, costumes and additional acting in the spoken theatre facilitates the Acehnese people in interpreting the story.
Co-Authors Afifuddin Afifuddin Alma'ieda Alma'ieda Muhamad Alifi Sarwanto Sarwanto Tri Puji Handayani