KOMPOSISI PEWAYANGAN Semester V Pedalangan ISI Dps

1. Om Swastyastu Prof. DR. I Nyoman Sedana, MA.* Guru Besar Tetap ISI Denpasar Adjunct Professor Southeast Asian Studies Ohio University KOMPOSISI PEWAYANGAN Semester V Pedalangan ISI Dps *ASIA Fellow 2005, Research Fellow ARI NUS 2007/8 IIAS Affiliated Fellowship 2011

2. Komposisi Pewayangan adalah mata kuliah teori dan praktek komposisi (penyusunan/kemasan) karya seni Pedalangan/Pewayangan menurut kaidah-kaidah estetika dan metode teatrikal pedalangan. Isi Mata Kuliah: Prinsip2 komposisi, konsep2 estetika, teori2 seni dan desain, serta metode artistik seni pewayangan puppetry. TIU/Standar Kompetensi: Mahasiswa mampu menguasai dan menerapkan prinsip-prinsip estetika komposisi tersebut ke dalam garapan dan pagelaran karya seni Pedalangan/ Pewayangan.

3. Course Content: Pokok Bahasan Komposisi Pewayangan (by Prof. Sedana) Contoh sederhana Komposisi Wayang Animasi Origin of Arts (Awal mula lahirnya kesenian dan kalangwan) Teori: Konsep-konsep Estetika dari tradisi hingga post modern Variant Conseps of puppet theatre Estetika/Komposisi Struktur Dramatik Struktur Dramatis Wayang Purwa Arts the face of Culture (Kesenian Wajahnya Kebudayaan) Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni. Unity: Keutuhan dalam Ide, Bentuk, hingga Teater. Multi layers, Dimensi Narratif Lakon Wayang. Pohon lakon “Tree” of the Mahabharata. Lima realitas jagat seni: actual, virtual, inner life, sympathy, and reflection. Dalang as a bridge between two worlds (penghubung dua dunia) Domain Jagat Seni, khususnya Pewayangan. Kawi Dalang: konsep kreativitas komposisi Kawi Dalang: Irawan Antaka VS Irawan Rabi

4. Faktor2 apa yang melahirkan Seni? Intend Means Skill Match • Intention idea /Inspiration/ Aspiration: • Kemauan dan keperluan • Means/facility: • Sarana, fasilitas • Skill/ expertist: • Keterampilan • Math/opportunity: • koneksi dan relevansi

5. Contoh Komposisi Wayang Singkat The appearance of a wise and just king Sutasoma; This real humanist leader always wins without killing; He treats any one with great compassion; To achieve the ultimate truth and peace; Dharma, the duty is practiced in his daily action; His soft power overcomes any badness, to establish non-violence society.

6. WORLD PEACE JOURNEY Santi loka/bwana dwipa World Culture Frum: Sarasehan, Exhibition, dan Collaborations. Wise & Just Justice Balance Equality Creative Arts toward Soft Power Diplomacy EQUAL GLOBAL RELATIONS Cross Cultural Interaction Cross-Cultural Collaborative Performances Arts as weapon Joint research, workshop, academic exploration Humanism and Multiculturalism through Multi aesthetic experimentation

7. Awal Mula Lahirnya Seni Pertunjukan Purwaning Kalangwan Seni awalnya lahir untuk Sosial Criticism and Commentary Lontar (kini buku) Siwagama: Para Dewa menjadi seniman untuk menetralisir para setan butha yang nyaris menghancurkan dunia. Para setan butha kala memasuki jiwa mahluk hidup hingga mengancam keselamatan dunia. Kerusuhan tidak dilenyapkan dengan “pendekatan keamanan” melainkan Purwaning Kalangwan (ultimate accomplishment of the aesthetic experience). Kini seni masih banyak digelar sbg ritual, ceremonial, dan entertainment.

8. Agar Butakala somia, Sanghyang Trisemaya menciptakan Seni Kalangwan: Dewa Iswara menjadi Dalang Dewa Brahma dan Wisnu menjadi Katengkong. Sangyang Caturlokapala menjadi Juru Gender. Sanghyang Wisnu menjadi Telek. Sanghyang Brahma menjadi Topeng Bang. Sanghyang Iswara menjadi Barong Iswari. Widyadari menjadi Rejang. Widyadara menjadi Baris. Para Gandarwa menjadi Musisi.

9. Lontar Usana Bali: Gamelan, Baris dan Rejang sebagai dasar tari putra dan putri di Bali. Seni merekam, memformulasikan, mengaktifkan dan mengajarkan sejarah, dibumbui dengan mitos, dikemas dengan konsep estetis, digelar dengan metode artistik, dgn motif takwa, ritual, hiburan, komersial. Albert Einstein: Imagination is more important than knowledge

10. Teori Estetika dari tradisi hingga post modern: Forms follow peace: Sanghyang Trisemaya menjadi Pendeta Seni. Forms follow meaning: Bentuk seni bermakna simbolis Forms follow function: Wali, Bebali, Balih-balihan Forms follow fun: Bentuk mengikuti kesenangan atau hiburan Absurd: Abstrak/mistik/magis/filosofis kembali ke ritual dan metafisik tentang kehidupan yang serba mujizat. Prof. Sedana: Form follows needs/orders/inspirations: Expanding drama, character, setting with special effects.

11. Kini: Form follows needs/orders/inspirations: Bentuk mengikuti order/ pesan sponsor, lulus ujian, menang kompetisi, to impress audience, melaksanakan proyek, dan ungkapan idealisme. Forms: Pengembangan drama, karakter, setting dengan efek-efek spesial; Pentas dgn setting utentik: pura, hutan, pantai, pemandangan/ruang angkasa atau dlm geografi khusus. Mengintegrasikan komponen lain di luar originalitas tradisi: pakai binatang beneran, dll.

12. Jenis dan konsep estetika puppet theatre: • Shadow puppet • String puppet • Water puppet • Glove puppet • Rod puppet • Muppet /Hand puppet • Post-traditional puppetry: • Konsep sinergi cinema, film, dan TV. • Konsep sinergi boneka, gerak, suara iringan, lakon, dan peran sosial. • Wayang kontemporer, inovasi, modern, wayang listrik, wayang campur sari.

13. Estetika/Komposisi Struktur Dramatik: Paguneman (eksposisi), Angkat-angkatan (komplikasi), Siat (klimax), Pematut (solusi), Panyuwud (konklusi). Siat (klimax) Pematut (solusi) Angkat-angkatan (komplikasi Rising Action) Panyuwud (konklusi) Paguneman (eksposisi)

14. Struktur Dramatik Wayang Purwa: Paten nem pukul 21 – 24: Saat adegan jejeran Raja menuju kedaton menemui permaisuri sbg bayi diasuh ibunya. Adegan paseban jawi melambangkan anak mengenal dunia luar. Adegan jaranan melambangkan watak anak sbg binatang, belum tahu aturan sebelum dewasa. Perang Ampyak melambangkan rintangan ketika anak mulai remaja. Adegan Sabrangan melambangkan remaja masih emosional. Adegan perang gagal melambangkan hidup manusia masih ragu-ragu.

15. Struktur Wayang Purwa (2): Patet Songo 12 – 03: Adegan bambangan melambangkan hidup mulai menari guru sejati. Adegan perang kembang dgn Cakil melambangkan keberanian menumpas angkara murka, menaklukkan perut. Adegan sintren melambangkan orang telah berani memilih jalan hidupnya, menaklukan nafsu.

16. Struktur Wayang Purwa (3): Patet Mayura 03 – 06 pagi: Jejer Mayura melambangkan orang yang sudah jelas jalan hidupnya mencapai cita-cita. Perang Brubuh melambangkan orang telah megalahkan rintangan hidup. Tancep Kayon ketika orang tidak masih bercita-cita setinggi langit, sudah realistis. Konsep keutuhan kepala-badan-kaki.

17. Kesenian Wajahnya Kebudayaan Kesenian kesenian Bahasa Kebudayaan Fisik Relegi/Agama Sistem Sosial Sistem Teknologi Sistem Budaya Arsitektur Sistem Sosial Ekonomi

18. Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni social & political action theatrical techniques staging consequential actual visible consequential staging virtual hidden Social drama Aesthetic drama Works “in the world” Works “on consciousness” theatrical techniques social & political action

19. Dari tataran Ide, Bentuk, hingga Teater Digelar=Teater Penataan Komposisi Penampilan: intensity, kesan & amanat Bentuk: Complexity, Unity, Balance Ditulis=Script Ide sinopsis Pagelaran Lakon/Drama

20. PERTUNJUKAN Pencuplikan/penataan lakon Sosio kultural masyarakat setempat mendatangkan bencana atau kesejahteraan Pagelaran wayang bersih desa Kekuatan magis alam semesta artistik management Pakem: Bratayuda Sumber narasi: epos

21. Sastra Kakawin Isi Pewayangan Transformasi narasi kakawin ke dlmdialog pakem Kakawin oleh juru santi = dasar pewayangan In The Origin and Early Form of Greek Tragedy (1965) Gereld Else argues that Greek tragedy originated from rapsodes (oral performers in religious festivals) who recited passages from the Odyssey and the Illiad. The first Greek actor, Thespis, dramatized rapsodes recital as the base of tragedy.

22. Theory of Tragedy in Aristotle’s Poets. Drama: Plot, Characters, Thought, Music, Diction, Spectacle Kosmos Performance Theory Daily life Theatre Script Drama

23. Teori drama Tragedi dlm Aristotle’s Poets. Drama meliputi (1) Plot, (2) Characters, (3) Thought, (4) Music, (5) Diction, dan (6) Spectacle. Teori Tragedi: Menonjolkan dilematika dan misteri alam, mitos, dan sejarah lewat persoalan hidup tokoh-tokoh bangsawan dgn memakai bahasa indah dan wacana puitis yang berakhir dgn kesedihan. Cara mendidik dgn mengungkap keteguhan sikap ideal bangsawan/penguasa beserta akibat yang amat menakutkan atas kesalahan kecil prilakunya. Teori Komedi: Menonjolkan skandal-skandal pribadi dan rumah tangga oleh tokoh-tokoh kelas menengah ke bawah dgn meniru bahasa dan wacana sehari-hari yang berakhir dgn kebahagiaan ’happy ending’. Cara mendidik dgn mengungkap dan menertawai prilaku yang mesti dihindari.

24. Teori Seni Klasik: (1) Bermutu tinggi, (2) memiliki standar baku / aturan otonom, dan (3) umurnya tua. Teori Neo-klasik dgn 3 subsidiary goals: (1) Verisimilitude (reality, morality, universal), (2) Decorum (norma), dan (3) Three unities (action, time & place) Teori Kawi Dalang (Disertasi 2002): Tradisi kreatif dalam bingkai norma dan struktur teater tradisi (Endless creativities within etablished norm and structure). .

25. Dimensi Narratif Lakon Wayang Character Plot Prota/anta/ tritagonis Strukture naratif/ Alur 1-5: Lakon type Based on sumber, cara kontruksi, & areal Setting Place/ time in lakon & saat penceritaan Wayang Story/ Drama Educatif, filosofi, hiburan, komentar, ktitik Message Actual, virtual, inner life, effects, reflection Domain Sensasi,emosipersepsi, impresi Reception

26. Sorga Rohana Parwa “Tree” of the Mahabharata Prastanika Parwa Branches of the Mahabharata. Among many branches in Balinese version, only the gaguritan Salya is shown here. Branches of the Mahabharata. Among many branches in Kawilanguage, only the Arjuna’s Wedding is shown here. Moksala Parwa Trunk of the Mahabharata in Kawi language Asrama Parwa Aswameda Parwa Santi Parwa The Gaguritan of Commader in Chief (Senapati) Salya. Anusesana Parwa Stri Parwa Play 3:Supraba’s Expedition(Supraba Duta) Play:Flirtatious (Pangipuk) Salya Sauptika Parwa Salya Parwa Karna Parwa The Kakawin of Arjuna's Wedding (Arjuna Wiwaha) Drona Parwa Play 2: The Death of Momo Simuka(Momo Simuka Antaka) Bisma Parwa Udyoga Parwa Wirata Parwa Play 1: Arjuna’s Meditation (Arjuna Tapa) Wana Parwa Poets transformed it, Sanskrit-Kawi Sabha Parwa Sukabumi, 25/3/804 Adhi Parwa Roots (babon) of the Mahabharata stories in Sanskrit language

27. Performance Seniman di lima dunia Audiences 1. Audience's senses Actual Reality 2. Imagination Virtual Reality 3. Hystrionic sensibility Inner Life 4. Empathy Effects 5. Aesthetic Distance Reflection

28. Dalang menghubungkan dua dunia Wayang Wali Sapuh Leger (ritual) Pagelarannya untuk siapa dan bagaimana Pakem/Pangastawa Dalang sebagai jembatan alamsekala dengan niskala

29. Dalang sebagai jembatan alam sekala dengan niskala Dlm ritual religious Sapuhleger By performing the wayang ritualistic theatre, dalang communicates with the gods in the spiritual realm to transform the ordinary water of material realm into the holy water of the sacred space for the human purification in the profane space Dalang Tirta dewa, sacred Nawa Ratna dalang, ordinary Air biasa wayang, seculer

30. kritik sosial, permainan, ikut teman HIBURAN Domain Jagat Seni, khususnya Pewayangan TEATER humor & senda gurau Genre, konsep estetika, metode artisitic, aparatus & penonton UPACARA Panca Yadnya plus aneka Seculer Celebration SENI, ILMU cipta/konsep, ripta, widya filsafat, rupa, pertunjukan. HUMANISME Satya Darma Bakti Ahimsa Santi Kepercayaan Ani/dinamisme ke monoteisme Filsafat: saytam siwam sundaram

31. Kawi Dalang forTransforming Irawan into Wayang Attempting creative responses to any circumstances during the show instigates TAKSU Dalang is both constrained by traditional canons and enjoys plenty rooms for improvisations • Creativity in Plot: (1) Transformation from narration to dialogue; (2) Selecting or Constructing story, (3) Creating Plot. • Creativity in Presentation: (1) Selecting and naming character, place, and Wanda, (2) Constructing and manipulating puppet, (3) setting scene, (4) Jokes/Social Criticism, (4) Pun, (5) Creating poetry, (6) Creative response to any circumstances, expected or not.

32. Kreativitas Seni Seorang Dalang Membangun plot lakon untuk satu pertunjukkan, Menyeleksi dan memilih karakter-karakter dramatik Memberi nama dan tempat Memilih/menyeleksi lakon Membuat dan menggerakkan wayang Memilih wanda Menciptakan lakon, Menyusun humor dan kritrik Sosial. Menciptakan poisi (Ngawi kakawin) Mentransformation narasi kedalam dialog Penyusunan dan permainan kata-kata dan retorik Menciptakan respons kreatif terhadap segala kemungkinan situasi.

33. Kawi Dalang: Creativity in Wayang Theatre Attempting creative responses to any circumstances during the show instigates TAKSU Artistic design and mechanism in plot construction and its staging method. Speech (Wacana) Action (Tetikasan) Character Story/Plot Dalang Puppeteer Convention, rule or canons of puppet show Genre / Form Body (Angga)

34. Dalang Artistic Creativities include: Selecting story or Creating story Transforming narration into dialogue Creating plot for a show according to the genre, Selecting necessary dramatic characters Creating name for a character and place, if any Creating puppet and manipulation Selecting appropriate wanda (fluctuating appearances). Creating humor, social criticism and commentary Quoting and/or creating poem (Ngawi kakawin) Playing with words or pun, rhetoric, speech diction, songs. Attempting creative responses to any circumstances during the show for TAKSU

35. Kawi Dalang: Irawan in Wayang Puppet Show: Exposition in Sapta Petala: Irawan requests permission from his mother Dewi Ulupuy and his grand father Sanghyang Antaboga to support Pandawa in the Bharatayuddha. Departure to Indra Wiprasta: 1st traveling scene.

36. Court scene: Prabu Mlawa leads his group who will support Korawa. Departure to Astina: 2nd traveling scene. Irawan and Mlawa group meet at Rewanataka Mountain. Instead of waiting for Bharatayuddha they both agree to fight ahead of time during which Irawan successfully slays the king of Mlawa and then sharpens his sword in the top of mountain.

37. On the way back from the unsuccessful peace conference at Gajah Oya Kresna co-incidentally passes the mountain, which establishes dialogue between Irawan on the top of mountain and Kresna from the slope (rooms for creativity)

38. Dialogue between Irawan on the top of mountain and Kresna from the slope: Kresna: Halo.. I hear some body sharpening the sword, who is up there? Irawan : Me, Irawan. Kresna: Would you go down please? Irawan (arrogantly): Why, what do you want? Wana fight? Kresna: How come you are so impolite? I simply ask but you challenge to fight. Ok, if that’s what you wish, may Kala Srenggi devours you. Irawan: I have no fear to fight Srenggi or anyone for the truth and bhakti to my parent Pandawa.

39. Kresna (curious and rush to meet Irawan on the top of mountain): Who are you? Irawan: I am Irawan, Arjuna’s son with mother Ulupuy from Sapta Petala. Kresna: Oh my God, please forgive me (to himself). You are my son in law, because my sister Subadra has also married with Arjuna. Kala Srenggi suddenly comes as Kresna’s curse to devours Irawan. (possible climax) Kresna: Wait Srenggi! Wait! give a chance to Irawan who wishes to render a service for his parent Pandawa by joining the Bharatayuddha, where you will exercise the curse.

40. Kresna leads Irawan to meet Arjuna and other Pandawa. (possible conclusion or may also be the exposition of another show) If so, from now on he may be a king of Paranggupita entitled Gambir Anom. He marries Titisari (Kresna’s daughter) and has a female Senapati, Ladrang Mungkung, who successfully kills Arjuna and brings him to Gambir Anom. Arjuna recovered after Ulupui touched him. Bharatayuddha begins with Bisma Parwa. Irawan joins the war, during which Kala Srenggi fulfills Kresna’s curse to kill Irawan. (another possible conclusion)

41. Course Content: Pokok Bahasan Komposisi Pewayangan Contoh Komposisi Wayang Singkat Awal mula lahirnya kesenian dan kalangwan Teori Estetika Komposisi dari tradisi hingga post modern Jenis dan konsep estetika puppet theatre: Komposisi Komposisi Struktur Dramatik Struktur Dramatik Wayang Purwa Teori Kesenian Wajahnya Kebudayaan Korelasi Sandiwara Kehidupan Sosial dgn Panggung Seni. Dari Tataran Ide, Bentuk, hingga Teater. Dimensi Narratif Lakon Wayang. Pohon lakon “Tree” of the Mahabharata. Seniman di 5 dunia: actual, virtual, inner life, sympathy, and reflection. Dalang menghubungkan dua dunia. Domain Jagat Seni, khususnya Pewayangan. Kawi Dalang: konsep kreativitas komposisi Kawi Dalang: Irawan Antaka VS Irawan Rabi

42. Many Thanks Terima kasih atas perhatiannya I Nyoman Sedana ASIA Fellow 2005, Research Fellow ARI NUS 2007/8 IIAS Affiliated Fellowship 2011

43. WORKSHOP - COLLABORATION • Introduction: • Drama/Theatre Composition by Prof. DR. I Nyoman Sedana, MA. • Play Script Construction by Prof. Leon Rubin • Theatre Art Presenters: • Cok Putra • Fana • Natali • Jenn • Dawn • Made GdeApel Mahasiswa Essex University & Jurusan Seni Pedalangan ISI Dps 23 Nov 2010