ANALISIS SEMIOTIK WAYANG TAVIP PADA LAKON RAHVAYANA: AKU LALA PADAMU

• Main Author: Aditya Aditama Putri Hk, - (Author)
• Format: Book
• Published: 2019-07-23.
• Subjects: Thesis; NonPeerReviewed
• Online Access: Link Metadata
• Notes: http://repository.upi.edu/36937/1/T_PSN_1602928_Title.pdf; http://repository.upi.edu/36937/8/T_PSN_1602928_Chapter1.pdf; http://repository.upi.edu/36937/9/T_PSN_1602928_Chapter2.pdf; http://repository.upi.edu/36937/10/T_PSN_1602928_Chapter3.pdf; http://repository.upi.edu/36937/11/T_PSN_1602928_Chapter4.pdf; http://repository.upi.edu/36937/12/T_PSN_1602928_Chapter5.pdf; http://repository.upi.edu/36937/7/T_PSN_1602928_Appendix.pdf
• Keywords: L Education (General); N Visual arts (General) For photography, see TR

Wayang sejak dahulu telah menjadi media dakwah, pendidikan, penerangan, serta hiburan bagi masyarakat melalui cerita yang ditampilkannya. Salah satu kisah populer yang dipentaskan dalam pagelaran wayang adalah epos Ramayana yang kini telah bertransformasi dalam sejumlah karya sastra Indonesia modern, seperti pada novel Rahvayana karya Sujiwo Tejo yang menempatkan Rahwana sebagai tokoh utama protagonis. Perkembangan cerita pewayangan sejalan dengan perkembangan kesenian wayang itu sendiri. Wayang purwa sebagai wayang tertua terus berkembang dari masa ke masa hingga kini muncul wayang kontemporer. Akan tetapi referensi mengenai seni wayang kontemporer minim dijumpai di Indonesia. Wayang Tavip merupakan seni wayang kontemporer asal Bandung yang mementaskan kisah Rahvayana. Penelitian ini bertujuan untuk memahami proses kreatif dalam pembuatan wayang Tavip dan memahami tanda-tanda pada karya wayang Tavip dalam lakon Rahvayana: Aku Lala Padamu. Metode yang digunakan dalam penelitian ini adalah metode deskriptif dengan pendekatan kualitatif. Makna visual dianalisis menggunakan teori semiotika Charles S. Peirce melalui ikon, indeks, dan simbol pada wayang yang dimaknai secara komprehensif dalam satu kesatuan makna gambar. Proses keatif wayang Tavip dimulai saat sang kreator mengalami kekhawatiran mengenai minimnya animo generasi muda terhadap kearifan lokal Indonesia. Isu lingkungan seperti limbah plastik pun tak luput dari pengamatan. Wayang Tavip hadir dengan tampilan kaya warna karena media limbah plastik, pewarna transparan, sistem cahaya, serta layar khusus yang digunakan. Wayang Tavip selalu menyisipkan kritik sosial yang terjadi di masyarakat pada setiap tokohnya. Kasus korupsi serta prilaku masyarakat kekinian yang kian menyimpang dari Islam dan norma ketimuran merupakan topik umum yang dibahas dalam lakon Rahvayana melalui tokoh-tokoh utamanya. Kata kunci: Rahvayana, wayang Tavip, kritik sosial, analisis semiotik. ABSTRACT Wayang has since been the medium of da'wah, education, lighting, and entertainment for the community through the stories he displayed. One of the most popular stories staged in puppet shows is Ramayana epic which has now been transformed in a number of modern Indonesian literary works, such as the novel Rahvayana by Sujiwo Tejo who placed Rahwana as the main character protagonist. The development of the puppet story is in line with the wayang art development itself. Wayang purwa as the oldest puppet continues to evolve over time until contemporary puppet emerged. However, references to contemporary puppet art are found in Indonesia. Wayang Tavip is a contemporary wayang art from Bandung that shows the story of Rahvayana. The research aims to understand the creative process of making the wayang Tavip and understand the signs in the work of Wayang Tavip in Rahvayana: Aku Lala Padamu. The method used in this research is a descriptive method with a qualitative approach. Visual significance was analyzed using the semiotic theory of Charles S. Peirce through the icons, indexes, and symbols of the puppet that comprehensively interpreted in one unified meaning of the image. The creatives process of wayang Tavip began when the creator had concerns about the lack of animo young generation against Indonesian local wisdom. Environmental issues such as plastic waste have not escaped the observation. Wayang Tavip comes with a rich color display due to plastic waste media, transparent dyes, light systems, and special screens used. Wayang Tavip always inserts social criticism that occurs in the community in each of its characters. Corruption cases and the increasingly distorted behavior of the Islamic community and eastern norms are common topics discussed in the Rahvayana role through the main characters. Keywords: Rahvayana, wayang Tavip, social criticism, semiotic analysis.