earticle

영어

This research aims to explain the differences in the performance style of the shadow puppet theatre performances of Nartasabda and Purbo Asmoro and to analyze the messages or values contained in their performances. A qualitative method is used with an approach based on the dramaturgy of Javanese shadow puppet theatre. The object of the research is the stories Karna Tandhing and Dewaruci performed by Nartasabda and Brubuh Ngalengka and Rama Gandrung performed by Purbo Asmoro. These two puppeteers, or dalang, were well-known in different eras. Nartasabda was popular between 1969 and 1986 and had a unique performance style. Purbo Asmoro is a young dalang in a new generation of performers who has been popular since 1994 and has a different style of performance from most other dalang. Nartasabda’s performance style is always relevant to his era and displays a highly creative dramatization of characters as well as creativity in the musical accompaniment and the use of humour in every scene. Purbo Asmoro’s performance style is based on traditional Surakarta style but with new developments such as the use of abridged storylines (garap pakeliran padat), janturan and pocapan narration, new shorter arrangements of musical compositions or gendhing and sulukan, the use of thematic movements or sabetan, the avoidance of language which contains clichés, and the use of flashbacks. Each dalang has his own special characteristics. Nartasabda presents a highly skilful dramatization of characters and a dynamic treatment of the music, while Purbo Asmoro combines the use of garap pakeliran padat with an all-night performance style to create a new style of performance. It is hoped that the results of the research will be useful for other researchers to carry out a more in-depth study and also for audiences to understand the creativity and treatment of the two dalang so as to enrich their spiritual experience. The benefits of this research include the discovery of the values or messages contained in the four stories, such as values of heroism, religious humanitarianism, and patriotism, all of which can be internalized and used as a means for educating the character of the audience.