GARAP KARAWITAN PAKELIRAN; PAKELIRAN SANDOSA LAKON KEMBANG KUDHUP PUPUS (Perspektif Estetika Pakeliran Nuskma dan Mungguh)

Abstract

This research discusses the work of karawitan pakeliran in a Pakeliran Sandosa with story Kembang Kudhup Pupus, which is explored through the basic aesthetic perspective of pakeliran, namely the concept of nuksma and respectively. The purpose of this discussion is to understand the extent to which an element of performing karawitan pakeliran can determine the achievement of an aesthetic puppet show. The results of the analysis show that the work of karawitan pakeliran in Pakeliran Sandosa Lakon Kembang Kudhup Pupus can be understood to reach the aesthetic level of pakeliran respectively. This can be seen through the creation of accuracy, harmony, and appropriateness between the composition of the performance karawitan pakeliran including gendhing and tembang to the needs of the events of the play and the inner atmosphere experienced by the puppet. As for the achievement of the aesthetics of pakeliran nuksma which is able to motivate the effect of catharsis for the admirer in the framework of karawitan pakeliran can be felt through the pattern of melody and gendhing songs and songs arranged in such a way; by paying attention to the compatibility between vocal techniques, beats, and musical graphic arrangements that are oriented to the dynamics of the gendhing sense.

Penciptaan Wayang Rai Topeng: Upaya Menggagas Wahana Cerita Nusantara

“…Bentuk wayang karya Reni dari Palawijen adalah wayang yang bila dicermati seolah-olah memakai topeng dan karena Reni juga adalah pencipta Wayang Topeng di Malang bentuk karyanya seolah tidak ada bedanya antara Wayang Topeng dan Wayang Kulit. Sedangkan pada konsep pertunjukannya pertunjukan Wayang Rai Topeng sesung-guhnya sudah ada semenjak tahun 1980-an, yaitu Pakeliran Sandosa (Nugroho & Aji, 2022). Bentuk pakeliran sandosa adalah pertunjukan wayang dengan layar lebar, diiringi musik gamelan, dengan tekanan pada penggunaan bahasa Indonesia sebagai pengantar cerita.…”

Gatotkaca Mutung: An Identity Project Transforming Pulung Gantung into a Platform for Gatotkaca in Sandosa Cinema

“…Sandosa no longer relies on a single puppeteer but uses a working structure approach as in theater performances. The compositional structure consists of a director, scriptwriter, interplay stylist, narrator, voiceover, sabet stylist, puppet performer, accompanist, pengrawit, pesinden, lighting stylist, and sound stylist as mentioned by Nugroho & Aji [4]. Whereas in form, the visuals presented by Sandosa emphasize the shadow elements resulting from the puppet movements, projected on a rectangular screen or kelir (generally measuring at least 7 x 3.5 meters) as mentioned by Sunardi [5].…”