Analisis struktural Levi-Strauss terhadap tiga lakon karya Arthur S Nalan :: Kajian transformasi tokoh dalam lakon Rajah Air, Kawin Bedil, dan Sobrat

ABDULAH, Tatang, Prof.Dr. R.M. Soedarsono

2005 | Tesis | S2 Antropologi

Penelitian ini bertujuan untuk mengetahui dan membuktikan adanya transformasi tokoh cerita dalam tiga lakon karya Arhtur S. Nalan. Hipotesis yang diajukan adalah : (1) Adakah pola-pola tertentu yang memperlihatkan masing-masing tokoh cerita menunjukkan kesamaan atau kemiripan satu sama lain; (2) Bagaimana tokoh-tokoh tersebut satu sama lain saling bertransformasi. Subjek penelitian berjumlah 3 (tiga) tokoh cerita dalam 3 (tiga) naskah lakon karya Arthur S. Nalan (ASN); Siti Larom (SL) dalam lakon ‘Rajah Air’ (RA), Dayu Dedes (DD) dalam lakon ‘Kawin Bedil’ (KB), dan Sobrat (ST) dalam lakon ‘Sobrat’ (ST). Pengumpulan data dilakukan dengan metode studi literatur. Metode analisis yang digunakan adalah analisis strukturalisme Levi-Strauss Hasil penelitian menunjukkan bahwa ketiga tokoh dalam tiga lakon Arthur S. Nalan bisa dilihat dalam model transformasi strukturalisme Levi-Strauss melalui rangkaian paradigmatis dan sintagmatis. Dengan demikian dapat disimpulkan bahwa tokoh SL, DD, dan ST adalah transformasi dari tokoh ASN. ASN adalah transformasi dari tokoh Semar, Durga Umayi, dan Silbi Genderuwi. Tokoh Semar, Durga Umayi, dan Silbi Genderuwi adalah transformasi dari nilai sistem kepercayaan yang meyakini adanya kekuatan adikodrati. Urutan ini bisa saja dibalik, karena di sini semuanya telah berubah menjadi tanda atau kode.

By concept of transformation and structuralism of Levi-Strauss, there figure in different acts by Arthur S. Nalan are chosen. Siti Larom in “Rajah Air”, Dayu Dedes in “Kawin Bedil”, and Sobrat in “Sobrat” represent the figure that are selected as study object. This study indicates that each figure has the equation and difference which is not in pattern. The three figures, although they are different, are equipping each other to gain the target. It can be visible at each figure story that has been compiled in link of sintagmatic and paradigmatic. Having found each figure story, the farther interpretation of characterization is done. That is a fight of moral and responsibility human being in believing the existence of God’s will strength in eradicating the badness. Figure of ’Siti Larom’, a Javanese girl, as ‘Tledek’ realizes that as a child, she has to resfect and obey her parents. This confidence progressively increases when forecast which is done by occult buttonhold, in the ‘Semar’ figure, is really happened. Figure of ‘Dayu Dedes’, as a Balinese, realizes that strength which is pointed out by his grandmother. And ‘Miak Werana’ that is science that can witness the life of the past. Towards this strenght he exposes the Goddess of ‘Umayi’ as Goddess which can point out. Figure Sobrat, a Corebonese, believes the existence of God’s will strength but the strength which is believed by Sobrat represents the devil strength. Desiring to be reach, Sobrat makes the egreement with the refinement creature of Silbi Genderuwi by marrying her. The action of the figures in facing the problem points out that the author want concretely to express the God’s will strength of is projected into the form of figure of Siti Larom, Dayu Dedes and Sobrat. In this way, Arthur S Nalan, Siti Larom, Dayu Dedes and Sobrat can be realized as a religious form which is struggle to keep the live balance.

Kata Kunci : Teks Drama,Interpretasi Budaya,Struktural Levi Strauss, Structuralism of Levi-Strauss, Transformation, Teks of Drama, Interpretation of Culture