WAYANG ORANG SEBAGAI PERTUNJUKAN TEATER TRADISIONAL DALAM TINJAUAN SEMIOTIKA : (Sebuah kajian awal)
Wayang wong, as a genre included in dance drama, is in fact the personification of wayang kulit purwo of which the stories come from the Ramayana and Mahabarata. The existence of wayang wong in Mangkuneagaran Palace and in the Sultanate of Jogjakarta in second half of the 18th c...
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| Format: | Article |
| Language: | Indonesian |
| Published: |
Pusat Penerbitan ISI Surakarta
2016-02-01
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| Series: | Gelar: Jurnal Seni Budaya |
| Online Access: | https://jurnal.isi-ska.ac.id/index.php/gelar/article/view/1237 |
| Summary: | Wayang wong, as a genre included in dance drama, is in fact theÂ
personification of wayang kulit purwo of which the stories come from the RamayanaÂ
and Mahabarata. The existence of wayang wong in Mangkuneagaran Palace andÂ
in the Sultanate of Jogjakarta in second half of the 18th century was the renaissanceÂ
of wayang wong which had developed in the time of the empire of Majapahit.Â
Even it was supposed to have developed before that time because in the year of 930Â
the term of wayang wong was discovered in the inscription of Wimalasrama.
Semiotics can be defined in a simple way as knowledge of signs and systemÂ
of signs. Some People say that semiotics is knowledge dealing sistematically withÂ
signs,  symbols and process of symbolism. This simple definition will turn into complex ·Â
one when there is a demand to define a sign. The difficulty in coming to an agreementÂ
on the definition of signs can make the agreement on the definition of semioticsÂ
difficult.
Keywords: Wayang orang, Traditional Theatre, Semiotics |
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| ISSN: | 1410-9700 2655-9153 |