Studi Komparasi Bentuk Pertunjukan Wayang Kulit Melayu Tradisional Kelantan Dengan Wayang Kulit Ramayana Bali Gaya Buleleng

Made, Panji Wilimantra (2014) Studi Komparasi Bentuk Pertunjukan Wayang Kulit Melayu Tradisional Kelantan Dengan Wayang Kulit Ramayana Bali Gaya Buleleng. Documentation. ISI Denpasar.

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Abstract

ABSTRACT This research is a study of performing art that compares the forms of the Kelantan Malay’s Traditional Shadow Puppets (Malaysia) in the story of Bintang Siam (Siam’s star) by Tok Dalang Daim (Muhammad Daim Bin Othman) with the Buleleng’s Style of Balinese Ramayana Shadow Puppet Performance (Indonesia) by Jro Dalang Klentit (I Ketut Merta) in the story of Hanoman Wetu (the Born of Hanoman). Based to the title, this study examines comparatively of that two shadow puppet performance’s forms, searching for the similarities and the differences which found in this two shadow puppet performance’s forms. This research uses descriptive qualitative method of data collecting technique wich was conducted by observations, interviews, documentary studies, and literatures studies. In reviewing the issues presented, the author uses the Comparison Theory, Structuralism Theory, Kawi Dalang Theory, and Aesthetic Theory. The Comparison Theory is used to analyze the comparison of this two shadow puppet performance’s forms. The Structuralism Theory is used to analyze the form and structure of these two shadow puppets performances and the meaning contained in the stories which were presented in both of the shadow puppet performances. The Kawi Dalang Theory is used as a tool to discuss the story packaging wich were presented in these two shadow puppets performances by the dalangs/ master puppeteers. The Aesthetic Theory is used in reviewing the aesthetical packaging which were presented by the puppeteers in these two performances. In this reaserch, it was found that both of the performances has some similarities and differences. The components which show the similarities especially appear in the use of narrative/ story source that come from the Ramayana Epic where the first performance’s story source comes from the story of Hikayat Bota Mahraja Wana and the second performance’s story source comes from the story of Serat Rama Keling. Both of the performance’s stories tell us about the Hanuman’s born but in a different point of view, technical presentation, and performance’s format according to the local genius and the puppeteer’s creativity in creating the stories (Kawi Dalang: Bali). From the performance’s technical point of views, these two performances use the same principle of performance which is presented in the form of drama or theater which utilizes the shadow emerges from the puppets that are played by the pupeteers in front of the streched white screen. At the same time, the puppeteers act as a narrator, singer, and involve in the dialogue based on the puppets character to tell a repertoire story and it is featured by gamelan music. Based on the results of the analysis, it is found that in these two types of performances, there are several differences on the puppeteer’s story-telling ways, scene structures, technical performances/ aesthetic presentations, as well as the functions and roles of performance components. Key Words: Comparative Reaserch, Performance’s Forms, The Kelantan Malay’s Traditional Shadow Puppets, The Buleleng’s Style of Balinese Ramayana Shadow Puppet

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