 |
| wayang |
Ki Dalang Guruh Soedarno Mangkucarito
The use of wayang as a communication medium allows for a high vibrational power so that the message conveyed is easily absorbed, interpreted and is able to produce an immediate effect (vibral). According to Rakhmat (1996), the immediate effect is very important for the effectiveness of a communication.
Like traditional arts in general, especially those that have an element of dialogue, wayang performances also have a fairly high flexibility in delivering messages. The challenge that arises for the puppeteers is how to develop additional materials into a play, through a process of screening and improvisation, without destroying the overall premise of the story. Don't let it cause a "boomerang-effect" from the audience. The messages and movements of the puppets that are played should always follow the times. Dalang as an interpreter must be able to bring messages, issues, which are currently developing in the midst of society.
Basically, all values of life, whatever the problem, can be raised into wayang plays, both aesthetic values and religious values. The attractiveness of presenting phenomena that develop in the community, such as on issues of discipline, cleanliness, family planning, health, AIDS, cooperatives, traffic order or security system is very dependent on the skill of the mastermind in concocting the dish. Equally important is the dalang's attention to the situation of the location of the performance (eg government offices or residential areas) and at what meeting the performance is being held (a memorial, champion or inauguration of something). It is actually a material that will never run out to be explored and always varied. These materials are accessories, complements, to the grip of the puppeteer so that the puppet show remains popular with the audience.
Meanwhile, due to its entertainment nature, wayang performances often absorb large audiences. The entertainment elements that characterize the wayang performances include the audience's favorite songs, the technique of playing the puppets (agile and proficient), and of course the most prominent are the jokes, both clown figures and other figures. This fact, among other things, has prompted several puppeteers to make various improvisations, especially in the art of pakeliran.
The audience often gives a supportive reaction to the dalang who makes changes and deviations but is encouraging, rather than the dalang who obeys the rules of the puppeteer but is too serious and rigid. The audience wants new things, while on the other hand the puppeteers try to occupy the elements of the team, that is, they must be able to make pakeliran that are not boring (Sutarno, 1991).
The improvisations made by several dalangs are actually just variations, interludes, without compromising the quality of the wayang performances. At the same time, it is one way to keep wayang popular with the audience, especially young people. Regardless of the controversy that arose, the improvisation was a positive effort for the development and preservation of wayang art, especially the art of pakeliran. Of course, this must be done while still paying attention to and maintaining the noble values contained in it.
The task of the puppeteers is to present pakeliran that is able to combine ethical and aesthetic values, which at the same time embodies the concept of balance in the puppet function, namely between the function of spectacle and demands, between the functions of entertainment and education.
Meanwhile, to improve the quality of the puppeteers, it seems that the puppeteers need to be given wider opportunities to perform performances on an ongoing basis. The provision of various facilities and infrastructure, such as a representative theater with relatively low rental costs, will greatly assist the implementation of the business.
Another opportunity for the dalangs to show and improve their creations and skills is the festival area, such as the Greget Dalang Festival which was held in Solo, where the dalangs can compete in a healthy manner with other dalangs and are responsive and able to follow developments. Qualified puppeteers are expected to be able to appear as strong communicators and ready to answer the challenges of the times. Quality puppeteers are the spearhead to emphasize the image of wayang performances, which lately have often been outdone by performances of various other, more modern arts.
Furthermore, it is also necessary to think about the existence of a "dialogue forum" that can be carried out regularly and continuously, whether in the form of seminars, workshops, workshops or others. On this occasion, practitioners, theorists, and lovers of wayang can be met to exchange ideas, so that various inputs can be obtained for the development and preservation of the art of wayang.
sumber : https://wsmulyana.wordpress.com/2008/12/04/dalang-di-balik-wayang