SANGGIT DAN GARAP LAKON BANJARAN PERTUNJUKAN WAYANG KULIT PURWA GAYA SURAKARTA

Sugeng Nugroho, Prof. Dr. Timbul Haryono, M.Sc.

2012 | Disertasi | S3 Pengkajian Seni Pertunjukan dan Seni Rupa

Penelitian ini berusaha mengungkap empat permasalahan yang berkaitan dengan sanggit dan garap lakon banjaran pada pakeliran purwa gaya Surakarta, meliputi: (1) mengapa lakon banjaran muncul dalam kehidupan seni pedalangan Jawa; (2) tokoh-tokoh wayang yang bagaimanakah yang mewarnai repertoar lakon banjaran; (3) bagaimana ciri-ciri sanggit dan garap lakon banjaran pertunjukan wayang kulit purwa gaya Surakarta dalam sajian pakeliran Nartasabda, Anom Soeroto, Manteb Soedharsono, dan Purbo Asmoro; dan (4) faktor-faktor apa yang mempengaruhi keberadaan lakon banjaran? Empat permasalahan tersebut dikaji berdasarkan paradigma semiotika pertunjukan Marco de Marinis. Permasalahan yang bersifat tekstual dianalisis menggunakan teori teater, teori sastra, konsep retorika, dan konsep-konsep pedalangan Jawa. Adapun permasalahan yang bersifat kontekstual dianalisis berdasarkan teori internal perubahan sosial Toynbee dan Mannheim. Penelitian ini bersifat kualitatif. Data-data dikumpulkan melalui studi pustaka, wawancara, dan pengamatan terhadap lakonlakon banjaran karya Nartasabda, Anom Soeroto, Manteb Soedharsono, dan Purbo Asmoro. Hasil penelitian menunjukkan: pertama, bahwa munculnya lakon banjaran merupakan tanggapan minoritas kreatif terhadap fenomena sosial budaya yang terjadi pada zamannya (1970-an s.d. 2000-an). Kedua, tokoh wayang yang dapat dibanjarkan adalah tokoh-tokoh wayang—protagonis maupun antagonis—yang mempunyai asal-usul, peristiwa kehidupan, dan banyak menimbulkan permasalahan lakon. Ketiga, sanggit lakon banjaran tidak sekedar membeberkan peristiwa kehidupan salah satu tokoh secara linier, tetapi mengungkap sejumlah peristiwa kehidupannya secara kausalitas dalam satu kesatuan pentas. Adapun garap pakelirannya telah meninggalkan pola-pola garap lakon konvensional, meskipun unsur-unsur ekspresinya berasal dari pakeliran tradisi. Keempat, keberadaan lakon banjaran tidak terlepas dari faktor kesenimanan dalang dan tingkat apresiasi masyarakat. Penelitian ini menemukan dua hal: pertama, sanggit dan garap merupakan faktor penentu keberhasilan penciptaan dan penyajian karya seni (pedalangan); dan kedua, karya seni yang hidup adalah karya seni yang mampu menyesuaikan diri dengan situasi dan kondisi zamannya.

This research aims to address four problems related to the sanggit and garap of banjaran stories in classical Surakarta style shadow puppet theatre (pakeliran purwa), including: (1) why banjaran stories have appeared in Javanese shadow puppet theatre; (2) which kinds of characters color the repertoire of banjaran stories; (3) how are the characteristic sanggit and garap of banjaran in Surakarta style shadow puppet theatre performances by Nartasabda, Anom Soeroto, Manteb Soedharsono, and Purbo Asmoro; and (4) what factors have influenced the existence of banjaran stories. These four problems are analyzed based on semiotics performance perspective by Marco de Marinis. The problems which are textual in nature are examined by theory of theatre, theory of literature, rhetoric concepts, and concepts of shadow puppets. The problems which are contextual in nature are examined using theories of internal social change by Toynbee and Mannheim. This research is qualitative methods. The data for this research was collected through a bibliographical study, interviews, and observation of banjaran stories performed by Nartasabda, Anom Soeroto, Manteb Soedharsono, and Purbo Asmoro. The result of this research refers that: first, performances of stories in banjaran form have appeared as a response of creative minority toward social culture phenomenon for their period (1970‘s until 2000‘s). Second, the types of characters that can be portrayed in banjaran stories—both protagonistic and antagonistic character— with origins and life events which create an interesting set of problems in a story. Third, sanggit in banjaran stories is not simply how the life events of a character are revealed in linear form but rather how a number of different events are portrayed in casual fashion within a single performance. The garap in a shadow puppet theatre performance have abandoned conventional pattern of garap, although certain elements of expression still use vocabulary from traditional shadow puppet theatre performances. Fourth, the existence of banjaran stories is connected to the artistic factor of the puppet master and level of society appreciation. This research discovers two matters: first, sanggit and garap are determined factor toward successful of creation and presentation work of arts (shadow puppets); and second, work of art which vivid is which able to adaptive with situation and condition at that time.

Kata Kunci : lakon banjaran, sanggit dan garap