A STUDY ON THE SHADOWS OF THE LEATHER PUPPETS MOVEMENTS OF PURWA OF YOGYAKARTAS STYLE IN PERFORMANCE OF PARTA KRAMA STORY

• Main Author: Koeshandari Rahayu (NIM 370 02 001), Ismoerdijahwati
• Format: Dissertations
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/6311
• Institution: Institut Teknologi Bandung

Abstract : <br /> <br /> <br /> <br /> <br /> <br /> The effect of the shadow of leather puppets movements on the screen can be used to determine both the puppet performance quality and creativity of a puppeteer. The most important tools, as a unit, for creating the shadows of puppet leathers movements on the screen during the performance are blencong (lamps used in the performance), kelir (screen) and debog (banana tree trunk) <br /> <br /> <br /> <br /> <br /> <br /> <br /> This study was focused on the shadows of leather puppets movements of purwa of Yogyakarta on Parta Krama story, as one of stories in the shadow puppet leather in Yogyakartas style, and whose puppeteer was Ki Timbul Hadiprayitno KMT Cermo Menggolo. The study was mainly focused on the aspect of sabet (Javanese for movements) created by using blencong (lamps used in the performance) on the kelir (screen). Specifically, the facial expressions, based on the shadow movements of the leather puppet during the performance, were used in approaching and analyzing such acts as Pathet Nem, Jejer I, and Kedhaton Dwarawati - in which Prabu Kresna, the King; Samba; Prabu Baladewa; Setyaki; Patih Udawa, and Gathotkaca conducted a meeting. And in that meeting, Prabu Baladewa got angry at and intended to hit Gathotkaca although Prabu Kresna managed to prevent Prabu Baladewa from doing his intention. <br /> <br /> <br /> <br /> <br /> <br /> <br /> Not only were the facial expressions used in approaching and analyzing the story, but the knowledge in puppet play performance and the knowledge in social and cultural aspect were also used. Therefore, many of the terminologies used in this study refers to terminologies used in the puppet performance of Javanese customs, particularly Yogyakartas style, which originates from the School of puppet play performance of Habirandha in Yogyakarta. <br /> <br /> <br /> <br /> <br /> <br /> <br /> The study showed that the movement aspect of Purwa of Yogyakartas style, the data concerning the detailed movements were identified. Each of the detailed movement has its own story. And each movement of the main characters determines its own body language. In addition, by using the 11th sequence and 70 facial expressions (gambar) of movement in the Kedhaton Dwarawati act, avariety of facial expressions was also identified. <br />