| Summary: | This study is aimed to discuss the basic concepts of forms,
movements, characterization, and manifestations in the performance
of wayang golèk Ménak Yogyakarta. In Yogyakarta and its
surrounding areas, wayang golek Menak was popularized by Ki
Widiprayitna around 1950s to 1960s. One factor that favored the
public at the time was the ability to move the puppet look alive, so
called dhalang nuksmèng wayang. In the context of the
performance, the creative process is based on the concept of kéblat
papat lima pancer philosophy namely sawiji, greget, sengguh, and
ora mingkuh.
This research is multi-disciplinary trying to explain the
theory, which is the construction of the world of wayang golèk
Ménak Yogyakarta it self, such as the puppeteer and his artwork
supported by the historical method, iconography concept,
physiognomy concept, dramaturgy of puppetry, and concept of
Javanese culture.
The study, research, written and recorded data, and even the live
performance of wayang golèk Ménak Yogyakarta is still scarcely
found, as well. Therefore, the primary data are obtained by
observation that is involved participation and in-depth interviews
through the primary source, Ki Sukarno, the son and the successor
of Ki Widiprayitna as the puppeteer of wayang golèk Ménak, and
the secondary sources namely Ki Sudarminta and Ki Amat Jaelani
Suparman, the former students of Ki Widiprayitna. The observation
technique is in line with the concept of Hans Georg Gadamer that
verstehen is anvenden or understanding is applied.
The results of this research shows that the overall structure
of wayang golèk Ménak Yogyakarta still refers to leather puppet
prototype, but it has its own accompaniment repertoire. The
movement of wayang golèk Ménak is, actually, inspired by wayang
topèng Pedhalangan and classical dance of Yogyakarta or Jogèd
Mataram, so the movement style is different from others.
The conclusion gained clarifies that the basic concept of
shape, movement and characterization along with its embodiment in
a structure of a show is always related to technical dimension and
quality of expression. The totality of technical establishment
disclosure and the quality of expression are able to change verbal
dimensions of performance becomes imaginative dimension, so there
will not appear the clear boundary anymore among artist, artwork,
and audience.
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