SANGGIT TOKOH DALAM BANJARAN SENGKUNI
DOI:
https://doi.org/10.33153/acy.v10i2.2276Abstract
Banjaran Sengkuni is a play that tells the story of the life of a wayang character named Sengkuni, from his birth to tragic death. Through the play the puppeteer believes that the real character of a figure is formed not only from birth but also since the process of fetal occurrence through sexual intercourseof the parents. Besides the process in the womb, the character is also formed by the environment that surrounds its life: the environment of the family, the surrounding community, and the universe.The character of Sengkuni in Banjaran Sengkuni was largely determined by the process of development of the baby or fetus in the womb, namely through the results of adultery or adultery which is culturally considered negative, even sin. He inherited his father’s character, Gandarwa named Setibar. The characters which could be observed include: baby Sengkuni was born with a handsome face but fanged, just like his father having fangs. In wayang tradition, a fang reflects a negative value.
Keywords:character, fetal formationprocess, environment, universe
Downloads
References
Arif Hidayat, SPd., MHum. 2012. Aplikasi Teori Hermeneutika dan Wacana Kritis. Purwokerto: STAIN Press.
Atar Semi. 1990. Metode Penelitian Sastra. Bandung: Angkasa.
Atmazaki.1990/ Ilmu Sastra, Teori dan Terapan.Padang: Angkasa Raya.
Gericke, J.F.C. dan Roorda T. 1901. Javaanch-Nederlansch Handwoordenboek.Amsterdam: Johannes Muller.
Lord, Albert B. 1976. The Singer of Tales.Yogyakarta: Tiara Wacana.
Mardjono, 2015 Sanggit Catur Nartosabdo & Manteb Sudharsono dalam Lakon Kresno Duta.Surakarta: ISI Press Surakarta.
Mursal Esten. 1982. Kesusastraan, Pengantar Teori & Sejarah. Bandung: Angkasa.
Narto Sabdo. 1983. Pamuksa. Klaten: Kusuma.
Nurgiyantoro, Burhan. 1995. Teori Pengkajian Fiksi. Yogyakarta: Gadjah Mada University Press.
Sindhunata, 1984.Anak Bajang Menggiring Angin. Jakarta: Gramedia.
Sri Mulyono. 1979. Wayang dan Karakter Manusia. Jakarta: Gramedia.
Subono, Blasius, 1996. Garap Pakeliran. dalam CEMPALA , Juli, edisi Gathotkaca. Jakarta: Studio.
--------------------, 2013. Kreatifitas Naskah Wayang Orang Lakon Kadharmaning Kunthi, dalam LAKON Vol. X N0. 2, Desember 2013.ISI Surakarta.
---------------------, 2013.Proses Penciptaan Karya Seni: Refleksi Dunia Batinku dalam Pidato Ilmiah Dies Natalis ISI Surakarta ke 49 Senin 15 Juli 2013.
Sudaryanto dan Pranowo. 2001. Kamus Pepak Basa Jawa. Yogyakarta: Badan Pekerja Konggres Bahasa Jawa.
Sugeng Nugroho, 2012. Lakon Banjaran: Tabir dan Likulikunya Wayang Kulit
Purwo Gaya Surakarta. Surakarta: ISI Press.
Suwardi Endraswara, 2017. Antropologi Wayang: Simbolisme, Mistisisme, dan
Realisme Hidup. Yogyakarta: Morfalingua.
Suwito Sarjono, 2013. Musnahnya Sengkuni. Yogyakarta: DIVA Press
Wityamartana, Kuntara, 1985. “Transformasi Wiracarita Mahabarata Dalam Pewayangan Jawa: Tinjauan Khusus Baratayuda TradisiYogyakarta†dalam Citra Pahlawan Dalam Kebudayaan Jawa. Soedarsono dkk (ed). Yogyakarta: Javanologi.
Ki Joko Santoso, Pagelaran Wayang Kulit Purwa 38 jam pada peringatan Hari Wayang Dunia 7-8 Nopember 2016 di ISI Surakarta dengan lakon Baratayuda.
Ki Julung Gandhik Eko Asmoro, Pagelaran Wayang Kulit Purwa lakon Sengkuni Gugur pada Peringatan Hari Wayang Dunia 7-8 Nopember 2016 di ISI Surakarta.
Ki Mantep Sudarsono, Pagelaran Wayang Kulit lakon Banjaran Sengkuni 9 Desember 2016 pertunjukan di halaman RRI Jalan Merdeka Barat 4 – 5 Jakarta.
Wawancara:
Dr. Suratno, S.Kar., M.Mus. Dosen pada Progam Studi Pedalangan, Fakultas Seni Peunjukan ISI Surakarta. Pelaku dan pengamat seni pakeliran.
Subono, S.Kar., M.Sn. Dosen pada Progam Studi Pedalangan, Fakultas Seni Pertunjukan ISI Surakarta. Pelaku seni (dalang), pengamat seni pakeliran dan komposer seni karawitan.Wawancara tgl 8 Agustus 2017.
Ki Purbo Asmoro, mengenai proses penciptaan lakon Banjaran Sengkuni.
Joko Santoso. 58 tahun. Dalang profesional. Tinggal di Mojosongo – Solo, mengenai sanggit lakon.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2019 YB Rahno Triyogo

This work is licensed under a Creative Commons Attribution 4.0 International License.
Author continues to retain the copyright if the article is published in this journal. The publisher will only need publishing rights