WAYANG WAHYU LAKON HANA CARAKA NABI ELIA SAJIAN KI BLACIUS SUBONO: MEDIASI KISAH ALKITAB

A. HANDI SETYANTO, Dr. Wisma Nugraha, Ch. R, M. Hum.; Prof. Dr. Soetarno, DEA.

2016 | Tesis | S2 Pengkajian Seni Pertunjukan dan Seni Rupa

Wayang Wahyu adalah wayang yang ceritanya bersumber dari Alkitab. Wayang Wahyu mempunyai kemiripan dengan Wayang Purwa yakni dalam hal unsur-unsur estetika pedalangan yang terdiri dari dalang, pemain gamelan, pesindhen, penggerong, lakon, sanggit, catur, sabet, karawitan pakeliran, peralatan, dan penonton. Kekhasan Wayang Wahyu terdapat pada fungsinya yaitu sebagai media penyampaian kisah Alkitab. Kisah Nabi Elia yang mempertobatkan raja Ahab disajikan oleh Ki Blacius Subono dalam lakon "Hana Caraka Nabi Elia." Lakon ini menjadi kajian menarik dalam hal struktur lakon (alur cerita) dan sanggit (kreativitas dalang). Tesis ini menjawab persoalan tentang bagaimana intertekstualitas struktur lakon dan mengapa dramatisasi diperlukan dalam sanggit. Kedua persoalan tersebut dianalisis dengan teori estetika pedalangan, estetika resepsi, dan alih wahana. Hasil penelitian menunjukkan bahwa intertekstualitas menentukan struktur lakon dan sanggit yang unik. Struktur lakonnya jelas dan logis serta mempunyai keunggulan sanggit, namun di dalamnya terdapat dramatisasi yang tidak sesuai dengan isi Alkitab. Dramatisasi diperlukan karena Wayang Wahyu harus menampung tiga stakeholder yakni Gereja, penonton, dan penanggap (pengundang).

Wayang Wahyu is a kind of wayang (puppet show) in which its story is based on The Bible. It resembles Wayang Purwa at some aspects, especially in pedhalangan (puppetry) aestethics which consist of dalang (puppeteer), gamelan players, pesindhen (female singers who sing with gamelan), penggerong (a choir group who sings with gamelan), lakon (this term defines three aspects of a puppet show: title of story, plot of story, and message of story), sanggit (the way a puppeteer employs his creativity to deliver the story), catur (the way a puppeteer presents dialogs of puppet characters), sabet (the technical ways of how a puppetter drives/plays the puppets), karawitan pakeliran (voices produced by both vocals and instruments which support a wayang show), equipments, and audience. The uniqueness of Wayang Wahyu is found in its function as a media to communicate Bible stories. A story from Prophet Elijah who converted King Ahab was performed by Ki Blacius Subono entitled "Hana Caraka Nabi Elia." Two aspects in this story: structure of lakon (story plot) and sanggit (puppeteer's creativity) are the interesting parts to inquire. This study answered problems about how intertextuality of lakon was and why dramatization was needed in sanggit. Those two problems were analysed using theory of pedhalangan (puppetry) aestethics, theory of reception aestethics, and adaptation theory. The result of the study showed that intertextuality determined unique structure of lakon and sanggit. Structure of lakon was clear and logical; while structure of sanggit excellence. However, there were some irrelevance dramatizations to the Bible story. Nevertheles, dramatization was needed because Wayang Wahyu had to accomodate three stakeholder: Church, audience, and event initiator.

Kata Kunci : estetika pedalangan, lakon, sanggit, resepsi, alih wahana