Om Swastyastu
KOMPOSISI PEWAYANGAN
Semester V Pedalangan ISI Dps
Prof. DR. I Nyoman Sedana, MA.*
Guru Besar Tetap ISI Denpasar
Adjunct Professor Southeast Asian Studies Ohio University
*ASIA Fellow 2005, Research Fellow ARI NUS 2007/8
IIAS Affiliated Fellowship 2011
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Komposisi Pewayangan adalah mata kuliah teori
dan praktek komposisi (penyusunan/kemasan)
karya seni Pedalangan/Pewayangan menurut
kaidah-kaidah estetika dan metode teatrikal
pedalangan.
Isi Mata Kuliah: Prinsip2 komposisi, konsep2
estetika, teori2 seni dan desain, serta metode
artistik seni pewayangan puppetry.
TIU/Standar Kompetensi:
Mahasiswa mampu menguasai dan menerapkan
prinsip-prinsip estetika komposisi tersebut ke
dalam garapan dan pagelaran karya seni
Pedalangan/ Pewayangan.
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Course Content: Pokok Bahasan Komposisi Pewayangan (by Prof. Sedana)
1.
Contoh sederhana Komposisi Wayang Animasi
2.
Origin of Arts (Awal mula lahirnya kesenian dan kalangwan)
3.
Teori: Konsep-konsep Estetika dari tradisi hingga post modern
4.
Variant Conseps of puppet theatre
5.
Estetika/Komposisi Struktur Dramatik
6.
Struktur Dramatis Wayang Purwa
7.
Arts the face of Culture (Kesenian Wajahnya Kebudayaan)
8.
Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni.
9.
Unity: Keutuhan dalam Ide, Bentuk, hingga Teater.
10. Multi layers, Dimensi Narratif Lakon Wayang.
11. Pohon lakon “Tree” of the Mahabharata.
12. Lima realitas jagat seni: actual, virtual, inner life, sympathy, and
reflection.
13. Dalang as a bridge between two worlds (penghubung dua dunia)
14. Domain Jagat Seni, khususnya Pewayangan.
15. Kawi Dalang: konsep kreativitas komposisi
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16. Kawi Dalang: Irawan Antaka VS Irawan Rabi
Faktor2 apa yang melahirkan Seni?
Intend Means Skill Match
Intention idea /Inspiration/ Aspiration:
Kemauan dan keperluan
Means/facility:
Sarana, fasilitas
Skill/ expertist:
Keterampilan
Math/opportunity:
koneksi dan relevansi
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Contoh
Komposisi
Wayang Singkat
The appearance of a wise and just king Sutasoma;
This real humanist leader always wins without killing;
He treats any one with great compassion;
To achieve the ultimate truth and peace;
Dharma, the duty is practiced in his daily action;
His soft power overcomes any badness,
to establish non-violence society.
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WORLD PEACE JOURNEY
Santi loka/bwana dwipa
World
Culture
Frum:
Sarasehan,
Exhibition, dan
Collaborations.
Wise
&
Just
Balance
Equality
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Awal Mula Lahirnya Seni Pertunjukan
Purwaning Kalangwan
Seni awalnya lahir untuk Sosial Criticism and
Commentary
Lontar (kini buku) Siwagama: Para Dewa menjadi
seniman untuk menetralisir para setan butha yang
nyaris menghancurkan dunia.
Para setan butha kala memasuki jiwa mahluk hidup
hingga mengancam keselamatan dunia.
Kerusuhan tidak dilenyapkan dengan “pendekatan
keamanan” melainkan Purwaning Kalangwan
(ultimate accomplishment of the aesthetic
experience).
Kini seni masih banyak digelar sbg ritual, ceremonial,
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dan entertainment.
Agar Butakala somia, Sanghyang Trisemaya
menciptakan Seni Kalangwan:
Dewa Iswara menjadi Dalang
Dewa Brahma dan Wisnu menjadi Katengkong.
Sangyang Caturlokapala menjadi Juru Gender.
Sanghyang Wisnu menjadi Telek.
Sanghyang Brahma menjadi Topeng Bang.
Sanghyang Iswara menjadi Barong Iswari.
Widyadari menjadi Rejang.
Widyadara menjadi Baris.
Para Gandarwa menjadi Musisi.
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Lontar Usana Bali: Gamelan, Baris dan Rejang
sebagai dasar tari putra dan putri di Bali.
Seni merekam, memformulasikan, mengaktifkan dan
mengajarkan sejarah, dibumbui dengan mitos,
dikemas dengan konsep estetis, digelar dengan
metode artistik, dgn motif takwa, ritual, hiburan,
komersial.
Albert Einstein: Imagination is more important than
knowledge
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Teori Estetika dari tradisi hingga post modern:
Forms follow peace: Sanghyang Trisemaya menjadi
Pendeta Seni.
Forms follow meaning: Bentuk seni bermakna simbolis
Forms follow function: Wali, Bebali, Balih-balihan
Forms follow fun: Bentuk mengikuti kesenangan atau
hiburan
Absurd: Abstrak/mistik/magis/filosofis kembali ke ritual
dan metafisik tentang kehidupan yang serba mujizat.
Prof. Sedana: Form follows needs/orders/inspirations:
Expanding drama, character, setting with special effects.
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Kini: Form follows needs/orders/inspirations:
Bentuk mengikuti order/ pesan sponsor, lulus ujian,
menang kompetisi, to impress audience, melaksanakan
proyek, dan ungkapan idealisme.
Forms:
Pengembangan drama, karakter, setting dengan efek-efek
spesial;
Pentas dgn setting utentik: pura, hutan, pantai,
pemandangan/ruang angkasa atau dlm geografi khusus.
Mengintegrasikan komponen lain di luar originalitas
tradisi: pakai binatang beneran, dll.
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Jenis dan konsep estetika puppet theatre:
1. Shadow puppet
2. String puppet
3. Water puppet
4. Glove puppet
5. Rod puppet
6.
7.
•
•
Muppet /Hand puppet
Post-traditional puppetry:
Konsep sinergi cinema, film, dan TV.
Konsep sinergi boneka, gerak, suara iringan,
lakon, dan peran sosial.
• Wayang kontemporer, inovasi, modern, wayang
listrik, wayang campur sari.
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Estetika/Komposisi Struktur Dramatik:
Paguneman (eksposisi),
Angkat-angkatan (komplikasi),
Siat (klimax),
Pematut (solusi),
Panyuwud (konklusi).
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Struktur Dramatik Wayang Purwa:
Paten nem pukul 21 – 24:
Saat adegan jejeran Raja menuju kedaton menemui
permaisuri sbg bayi diasuh ibunya.
Adegan paseban jawi melambangkan anak mengenal dunia
luar.
Adegan jaranan melambangkan watak anak sbg binatang,
belum tahu aturan sebelum dewasa.
Perang Ampyak melambangkan rintangan ketika anak mulai
remaja.
Adegan Sabrangan melambangkan remaja masih emosional.
Adegan perang gagal melambangkan hidup manusia masih
ragu-ragu.
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Struktur Wayang Purwa (2):
Patet Songo 12 – 03:
Adegan bambangan melambangkan hidup
mulai menari guru sejati.
Adegan perang kembang dgn Cakil
melambangkan keberanian menumpas
angkara murka, menaklukkan perut.
Adegan sintren melambangkan orang telah
berani memilih jalan hidupnya,
menaklukan nafsu.
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Struktur Wayang Purwa (3):
Patet Mayura 03 – 06 pagi:
Jejer Mayura melambangkan orang yang
sudah jelas jalan hidupnya mencapai citacita.
Perang Brubuh melambangkan orang telah
megalahkan rintangan hidup.
Tancep Kayon ketika orang tidak masih
bercita-cita setinggi langit, sudah realistis.
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Konsep keutuhan kepala-badan-kaki.
Kesenian Wajahnya Kebudayaan
Kebudayaan Fisik
Sistem Sosial
Sistem
Budaya
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Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni
Social drama
Works “in the world”
Aesthetic drama
Works “on consciousness”
visible
consequential
staging
actual
hidden
staging
consequential
virtual
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Dari tataran Ide, Bentuk, hingga Teater
Digelar=Teater
Ditulis=Script
Ide
Lakon/
Drama
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PERTUNJUKAN
Pakem:
Bratayuda
Sumber
narasi:
epos
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Sastra Kakawin Isi Pewayangan
Transformasi narasi kakawin ke dlm dialog pakem
Kakawin oleh juru santi = dasar pewayangan
In The Origin and Early Form of Greek Tragedy (1965)
Gereld Else argues that Greek tragedy originated
from rapsodes (oral performers in religious
festivals) who recited passages from the Odyssey
and the Illiad.
The first Greek actor, Thespis, dramatized rapsodes
recital as the base of tragedy.
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Performance
Theory
Kosmos
Daily life
Theatre
Theory of Tragedy
in Aristotle’s
Poets. Drama:
Plot, Characters,
Thought, Music,
Diction, Spectacle
Script
Drama
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Teori drama Tragedi dlm Aristotle’s Poets. Drama
meliputi (1) Plot, (2) Characters, (3) Thought, (4)
Music, (5) Diction, dan (6) Spectacle.
Teori Tragedi: Menonjolkan dilematika dan misteri alam,
mitos, dan sejarah lewat persoalan hidup tokoh-tokoh
bangsawan dgn memakai bahasa indah dan wacana
puitis yang berakhir dgn kesedihan. Cara mendidik
dgn mengungkap keteguhan sikap ideal
bangsawan/penguasa beserta akibat yang amat
menakutkan atas kesalahan kecil prilakunya.
Teori Komedi: Menonjolkan skandal-skandal pribadi dan
rumah tangga oleh tokoh-tokoh kelas menengah ke
bawah dgn meniru bahasa dan wacana sehari-hari
yang berakhir dgn kebahagiaan ’happy ending’. Cara
mendidik dgn mengungkap dan menertawai prilaku
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yang mesti dihindari.
Teori Seni Klasik: (1) Bermutu tinggi, (2) memiliki
standar baku / aturan otonom, dan (3) umurnya
tua.
Teori Neo-klasik dgn 3 subsidiary goals: (1)
Verisimilitude (reality, morality, universal), (2)
Decorum (norma), dan (3) Three unities (action,
time & place)
Teori Kawi Dalang (Disertasi 2002): Tradisi
kreatif dalam bingkai norma dan struktur
teater tradisi (Endless creativities within
etablished norm and structure).
.
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Dimensi Narratif Lakon Wayang
Prota/anta/
tritagonis
Strukture
naratif/ Alur
1-5:
Based on
sumber, cara
kontruksi, &
areal
Wayang
Story/
Drama
Educatif,
filosofi,
hiburan,
komentar,
ktitik
Sensasi,emosi
persepsi,
impresi
Place/ time in
lakon & saat
penceritaan
Actual,
virtual, inner
life, effects,
reflection
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“Tree” of the Mahabharata
Branches of the
Mahabharata. Among
many branches in Balinese
version, only the gaguritan
Salya is shown here.
Branches of the
Mahabharata. Among many
branches in Kawi language,
only the Arjuna’s Wedding is
shown here.
Roots (babon) of the Mahabharata
stories in Sanskrit language
Trunk of the
Mahabharata in
Kawi language
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Seniman di lima dunia
Performance
Audiences
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Dalang menghubungkan dua dunia
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Dalang sebagai jembatan alam sekala dengan niskala
Dlm ritual religious Sapuhleger
By performing
the wayang
ritualistic
theatre, dalang
communicates
with the gods in
the spiritual
realm to
transform the
ordinary water
of material
realm into the
holy water of the
sacred space for
the human
purification in
the profane
space
Tirta
Nawa
Ratna
Air biasa
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Domain Jagat
Seni,
khususnya
Pewayangan
HIBURAN
TEATER
UPACARA
SENI, ILMU
HUMANISME
Kepercayaan
Filsafat:
saytam siwam
sundaram
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Kawi Dalang forTransforming Irawan into Wayang
Dalang
Puppeteer
Dalang is both
constrained by
traditional canons
and enjoys plenty
rooms for
improvisations
Creativity in Plot: (1) Transformation from narration to dialogue; (2)
Selecting or Constructing story, (3) Creating Plot.
Creativity in Presentation: (1) Selecting and naming character, place,
and Wanda, (2) Constructing and manipulating puppet, (3) setting
scene, (4) Jokes/Social Criticism, (4) Pun, (5) Creating poetry, (6)31
Creative response to any circumstances, expected or not.
Kreativitas Seni Seorang Dalang
1. Membangun plot lakon untuk satu pertunjukkan,
2. Menyeleksi dan memilih karakter-karakter dramatik
3. Memberi nama dan tempat
4. Memilih/menyeleksi lakon
5. Membuat dan menggerakkan wayang
6. Memilih wanda
7. Menciptakan lakon,
8. Menyusun humor dan kritrik Sosial.
9. Menciptakan poisi (Ngawi kakawin)
10. Mentransformation narasi kedalam dialog
11. Penyusunan dan permainan kata-kata dan retorik
12. Menciptakan respons kreatif terhadap segala
kemungkinan situasi.
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Kawi Dalang: Creativity in Wayang Theatre
Artistic design and mechanism
in plot construction and
its staging method.
Dalang
Puppeteer
Convention,
rule or
canons of
puppet
show
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1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
Dalang Artistic Creativities include:
Selecting story or
Creating story
Transforming narration into dialogue
Creating plot for a show according to the genre,
Selecting necessary dramatic characters
Creating name for a character and place, if any
Creating puppet and manipulation
Selecting appropriate wanda (fluctuating
appearances).
Creating humor, social criticism and commentary
Quoting and/or creating poem (Ngawi kakawin)
Playing with words or pun, rhetoric, speech
diction, songs.
Attempting creative responses to any
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circumstances during the show for TAKSU
Kawi Dalang: Irawan in Wayang Puppet Show:
Exposition in Sapta Petala: Irawan requests permission
from his mother Dewi Ulupuy and his grand father
Sanghyang Antaboga to support Pandawa in the
Bharatayuddha.
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Departure to Indra Wiprasta: 1st traveling scene.
Court scene: Prabu Mlawa leads his group who will
support Korawa. Departure to Astina: 2nd traveling scene.
Irawan and Mlawa group meet at Rewanataka Mountain.
Instead of waiting for Bharatayuddha they both agree to
fight ahead of time during which Irawan successfully
slays the king of Mlawa and then sharpens his sword in
the top of mountain.
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On the way back from the unsuccessful peace conference
at Gajah Oya Kresna co-incidentally passes the mountain,
which establishes dialogue between Irawan on the top of
mountain and Kresna from the slope (rooms for creativity)
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Dialogue between Irawan on the top of mountain and
Kresna from the slope:
Kresna: Halo.. I hear some body sharpening the sword,
who is up there?
Irawan : Me, Irawan.
Kresna: Would you go down please?
Irawan (arrogantly): Why, what do you want? Wana fight?
Kresna: How come you are so impolite? I simply ask but
you challenge to fight. Ok, if that’s what you wish, may
Kala Srenggi devours you.
Irawan: I have no fear to fight Srenggi or anyone for38the
truth and bhakti to my parent Pandawa.
Kresna (curious and rush to meet Irawan on the top of
mountain): Who are you?
Irawan: I am Irawan, Arjuna’s son with mother Ulupuy
from Sapta Petala.
Kresna: Oh my God, please forgive me (to himself). You
are my son in law, because my sister Subadra has also
married with Arjuna.
Kala Srenggi suddenly comes as Kresna’s curse to
devours Irawan. (possible climax)
Kresna: Wait Srenggi! Wait! give a chance to Irawan who
wishes to render a service for his parent Pandawa by
joining the Bharatayuddha, where you will exercise the
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curse.
Kresna leads Irawan to meet Arjuna and other
Pandawa. (possible conclusion or may also be
the exposition of another show)
If so, from now on he may be a king of
Paranggupita entitled Gambir Anom. He
marries Titisari (Kresna’s daughter) and has a
female Senapati, Ladrang Mungkung, who
successfully kills Arjuna and brings him to
Gambir Anom. Arjuna recovered after Ulupui
touched him.
Bharatayuddha begins with Bisma Parwa.
Irawan joins the war, during which Kala
Srenggi fulfills Kresna’s curse to kill Irawan.
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(another possible conclusion)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
Course Content: Pokok Bahasan Komposisi Pewayangan
Contoh Komposisi Wayang Singkat
Awal mula lahirnya kesenian dan kalangwan
Teori Estetika Komposisi dari tradisi hingga post modern
Jenis dan konsep estetika puppet theatre:
Komposisi
Komposisi Struktur Dramatik
Struktur Dramatik Wayang Purwa
Teori
Kesenian Wajahnya Kebudayaan
Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni.
Dari Tataran Ide, Bentuk, hingga Teater.
Dimensi Narratif Lakon Wayang.
Pohon lakon “Tree” of the Mahabharata.
Seniman di 5 dunia: actual, virtual, inner life, sympathy, and
reflection.
Dalang menghubungkan dua dunia.
Domain Jagat Seni, khususnya Pewayangan.
Kawi Dalang: konsep kreativitas komposisi
Kawi Dalang: Irawan Antaka VS Irawan Rabi
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Many Thanks
Terima kasih atas perhatiannya
I Nyoman Sedana
ASIA Fellow 2005, Research Fellow ARI NUS 2007/8
IIAS Affiliated Fellowship 2011
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WORKSHOP - COLLABORATION
Mahasiswa Essex University &
Jurusan Seni Pedalangan ISI Dps
Introduction:
Drama/Theatre Composition by Prof. DR. I Nyoman Sedana, MA.
Play Script Construction by Prof. Leon Rubin
Theatre Art Presenters:
Cok Putra
Fana
Natali
Jenn
Dawn
Made GdeApel
23 Nov 2010
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