Drama Manuscripts Research Articles

Analisis Nilai Sosial Dan Religi Dalam Naskah Drama"Sebelum Sembahyang” Karya Kecuk Ismadi C.R: Studi Mimesis

<p><em>The objective of this study is to attain a comprehensive comprehension of the social and religious values imbued within the dramatic manuscript "</em>Sebelum Sembahyang<em>" authored by </em>Kecuk Ismadi C.R.<em> through a mimetic inquiry, as a concerted endeavor to elucidate the interplay between literary creations and quotidian existence. Employing a qualitative paradigm with a descriptive methodology, this investigation undertakes data gathering via document analysis, subsequently subjecting the acquired data to mimetic scrutiny. The research outcomes evince that: (1) The nexus between social values and societal actuality within this manuscript manifests through the depiction of societal realities, interpersonal conflicts, moral rectifications, and the transformative processes and educational undertakings of its personages. (2) Likewise, the correlation between religious values and societal actuality is discernible through the portrayal of religious rituals, the dissemination of religious tenets via the Kiai character, the spiritual metamorphosis of the protagonists, and the thematic emphasis on contrition and absolution as integral components of the narrated discourse.</em></p><p> </p><p><strong><em>Keywords: </em></strong><em>Analysis, Social Values, Religious Values, Drama Manuscript </em>“Sebelum Sembahyang”</p>

Relationship of Javanese Language and History in Javanese Manucripts

The Old Javanese language has experienced a long journey. This journey can be seen from several manuscripts that have been found. Javanese language shows a development of language from time to time. This shows that in the Old Javanese language and in the Old Javanese manuscripts there is a history. It is very important for the study of past Indonesian culture. The aim of this research is to get an overview of the development of the language stored in drama manuscripts from time to time as well as an overview of the history of the language and manuscripts as depicted in the discovered manuscripts. There are three periodization of Javanese language. Each periodization left manuscripts preserved in various places. In the manuscripts, there is also a historical background that we can see to this day. For example, the Ramayana kakawin left historical traces in the form of reliefs of Prambanan Temple that took stories from the Ramayana. This shows that the Ramayana in the past was a story that was very popular and appreciated. During the Central Java period, a type of literary work emerged that was colored with elements that were often referred to as kidung. Various materials of this hymn still take from Indian stories, but nevertheless have undergone modifications. Because of their vastness and long distances, the current manuscripts require a rescue conservation.

Authorship Background And Language Aspects On Javanesse Drama Scripts By Cross-Generation Authors’ Work

The process of reviewing the manuscript in detail and depth will result in a correct understanding and in accordance with the interpretation between the author, cultivator, and actor. The aim of this research article is to describe the form of linguistic aspects contained in Javanese drama scripts by authors across generations and to describe aspects of the authorship background contained in Javanese drama manuscripts by authors across generations. The approach used in this research is descriptive qualitative. Based on the results of the analysis and discussion on six Javanese drama scripts (Lelakon, Tuk, Dom, Tengara, Sumilir Angin Nang Brug Belis, and Mak Ana Asu Mlebu Ngomah) the works of these cross-generational authors who have the same or similar intrinsic elements even though each manuscript has its own characteristics and uniqueness.

Missing Shadows, Moving Shadows. The Process of Translating Prakrit in an Indian Drama Manuscript

Missing Shadows, Moving Shadows. The Process of Translating Prakrit in an Indian Drama Manuscript

Pembelajaran Menulis Naskah Drama dengan Strategi Menulis Terbimbing

The main purpose of writing a drama script is to be read by the reader and as a guide for people who will play a drama. Drama scripts which follow the rules of writing, will make the readers become easier to understand the contents of the script. The main object of this research is the product of learning guidelines for writing drama scripts that have been practiced for participants in the drama script writing class (KMND). The research subjects were 25 KMND students at the Balai Bahasa Sumatera Utara (North Sumatera Language Center). The results of this study were drama manuscripts written by the participants of the KMND class which were assessed and analyzed based on the structure and elements of the drama script. Data was collected using the following methods: (1) observation, (2) interviews, (3) questionnaires, and (4) documentation. Data analysis includes data reduction activities, data presentation, and drawing conclusions.

Prinsip Kerja Sama dalam Naskah Drama Bila Mencintai Dayang Tari Karya Benny Arnas

Tujuan penelitian ini adalah mendeskripsikan prinsip kerja sama dalam naskah drama Bila Mencintai Dayang Tari karya Benny Arnas. Metode penelitian yang digunakan adalah metode deskriptif kualitatif. Sumber data dalam penelitian ini adalah naskah drama satu babak Bila Mencintai Dayang Tari karya Benny Arnas. Analisis data dalam penelitian ini meliputi reduksi data, penyajian data, dan pengambilan kesimpulan. Hasil penelitian menunjukkan bahwa prinsip kerja sama yang digunakan dalam naskah drama Bila Mencintai Dayang Tari karya Benny Arnas didominasi dengan penggunaan maksim kualitas dalam setiap dialognya. Selain itu juga, digunakan maksim kuantitas, maksim relevansi, dan maksim pelaksanaan. Maksim kualitas, maksim kuantitas, maksim relevansi, dan maksim pelaksanaan yang digunakan dalam naskah drama menunjukkan bahwa secara langsung antara penutur dan mitra tutur memberikan informasi sesuai dengan yang diinginkan di antara keduanya sehingga memberikan pemahaman yang baik kepada para pembaca.

Nilai Sosial dan Moralitas dalam Naskah Drama Janji Senja Karya Taofan Nalisaputra

Tujuan penelitian ini untuk mendeskripsikan nilai sosial dan nilai moral naskah drama. Naskah drama yang digunakan berjudul Janji Senja Karya Taofan Nalisaputra. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data menggunakan teknik dokumentasi. Teknik analisis data dilakukan dengan cara membaca, pengkodingan, pendeskripsian, interprestasi, dan kesimpulan. Hasil penelitian ini merupakan deskripsi kajian nilai sosial dan nilai moral naskah drama Janji Senja karya Taofan Nalisaputra. Hasil dari kajian nilai sosial yang mendominasi naskah drama Janji Senja karya Taofan Nalisaputra yaitu nilai sosial diri dengan orang lain hal ini terlihat dari kutipan “Istri harus patuh pada suami, ujaran yang kasar berdampak menyakiti hati orang lain, kebencian yang memutuskan tali darah dalam tubuh, lebih mementingkan orang lain dari pada ibunya sendiri”. Hal ini tampak jelas dituangkan oleh pengarang dalam naskahnya. Sedangkan nilai moral naskah drama Janji Senja karya Taofan Nalisaputra melingkupi beberapa aspek di antaranya, berbentuk tingkah laku yang sesuai dengan kesusilaan, budi pekerti, dan juga akhlak. Berdasarkan hasil tersebut terlihat jelas jika naskah drama Janji Senja karya Taofan Nalisaputra sangat kental akan nilai sosial dan moral hal ini karena naskah drama yang diangkat berkaitan langsung dengan kehidupan sehari-hari di masyarakat.

Unsur Pembangun Naskah Drama Gentayu Ulak dalam Karya Rusmana Dewi

The research objective was to analyze the structure of drama manuscript of Musi Rawas folklore. The approach used was qualitative descriptive approach with library research method. The data were collected through reading technique, inventory technique and noting technique. The data were obtained from reading and coding were classified based on the object, described, organized into the report. The results presented: the conflict was when Gentayu recognized her mother was still alive and she kept meeting her, so that Remas Samar, whose father, was angry. It becomes the main problem in drama manuscript in Musi Rawas folklore "Gentayu Ulak Dalam". The plot in the drama was straightforward. The settings were in the village, forest, Baru Hill and river. In conclusion, according to the analysis, the drama included as tragedy because the climax of the story described the sadness and death. 
 Keywords: Analysis, drama manuscript, structural approach

PENINGKATAN KEMAMPUAN MENULIS NASKAH DRAMA DENGAN PENDEKATAN CONTEXTUAL TEACHING LEARNING (CTL)

The study is title “The Increased to Write Drama Manuscript With Contextual teaching Learning (CTL) Approach” which alms to develop students ability to write drama manuscript for MTs. eight grade with approach of contextual teaching learning (CTL). This research was carried out on eight grade student one of MTs. Mathla’ul Anwar 2 Bogor, as many as 47 students.
 The method research used is action research method. The instrument used in this study include: 1) observation sheet, 2) interview guide, 3) free essays for test writing drama manuscript, 4) documentation. The result showed that there increased ability to write drama manuscript with approach of contextual teaching learning (CTL) in eight grade student MTs. it is characterized by an increase in the average value of the test’s ability to write a drama manuscript. The increase in the average value of the pretest to cycle 1 was 15% and from cycle 1 to cycle 2 increased 4%. The mayor influence of the contextual teaching learning application the use of video impressions drama performances and discussion of video impressions drama performances and the use of media drama.

An Electronic Edition of Eighteenth-Century Drama: The Materiality of Editing in Performance

In the domain of electronic edition, drama’s specificity has been considered in terms of metadata improvements and possibilities. At the same time, an increasing closeness between art history research and performance art has demonstrated its methodological value to assess the complex nature of the archive. My post-doctoral research follows the lead and goes as far as proposing that performance art can be an adequate methodology when preparing the electronic edition of eighteenth-century drama. Furthermore, “performing the archive” can help to fill the gap between the eventful nature of drama manuscripts and the audience of today, suggesting new ways of approaching the specific materiality of the plays.

DIALEKTIKA ANTARA REALITAS DAN IDELITAS TEATER PAYUNG HITAM BANDUNG

This Script is reflection of the trip of Payung Hitam Theater which are expressed in some manuscript, such as “ Menunggu Godot (1991), “Kaspar” (1994-2003), and “ Merah Bolong Putih Doblong Hitam” (1996-20080) constitute the result of stretching of Indonesia modern theater which develops from un-satisfaction feeling in viewing factual reality which exist in the society. Inheritance which develops on the Modern Theater according to Saini constitutes an effort to express collision or the conflict of values that is difficult to be separated from its artist. The script of dialectic between reality and ideality of the theater Payung Hitam basically starts from the change which is appeared by group through the show of “Kaspar”. “The function of drama manuscript is not dominant anymore. The stage of show doesn’t give exposition of story or describe characters of art figure fully and realistically. The Metaphoric happening and archaic emotion are mort showed trough body expressivity of the actor, while verbal language expression becomes more minimal. The expression of theater of this period can be seen as effort to refuse hegemony of verbal language, to refuse the linearity of the story, then to open the slices of the new discourse trough the appearance of boy artistic of the language and things personification”. The peak of rebellion which is done by the group of Payung Hitam Theater is laid on “Merah Bolong Putih Doblong Hitam”,that is not anymore using of main character manuscript as reference in working. Body and expression of the players then becomes language which substitutes text verbally. For stressing the happening change, in this term is chosen one of drama which is conventional, that is “Menunggu Godot”, as a measuring tool. Keywords: Dialectic, Realistic, and Idealistic.

KARAKTERISTIK DAN KONFLIK TOKOH INVESTIGATOR (ALMUCHAQIQ) DALAM NASKAH DRAMA LUZŪMU MĀ LĀ YALZAMU KARYA TAUFĪQ AL-CHAKĪM (Pendekatan Psikologi Sastra Sigmund Freud)

Hanifah Hikmawati. NIM S701508009. 2015. Karakteristik dan Konflik Tokoh Investigator (Al-Muchaqiq) dalam Naskah Drama “Luzu<mu Ma< La< Yalzamu” karya Taufi<q Al-Chaki<m (Pendekatan Psikologi Sastra). Jurusan Kajian Budaya Pascasarjana Universitas Sebelas Maret Surakarta. Penelitian ini membahas; (1) Bagaimana struktur yang membangun cerita dalam kaitannya dengan peran tokoh utama pada naskah drama “Luzu<mu Ma< La< Yalzamu” berdasarkan teori struktural ‘Abdul-Ba<sith ‘Abdur-Raza<q Badr, (2) Bagaimana karakteristik dan konflik tokoh utama dalam naskah drama “Luzu<mu Ma< La< Yalzamu” berdasarkan teori psikoanalisis Sigmund Freud. Metode dalam penelitian ini ialah kualitatif deskriptif. Tujuan penelitian ini adalah (1) Mendeskripsikan struktur yang membangun cerita dalam kaitannya dengan peran tokoh utama pada naskah drama “Luzu<mu Ma< La< Yalzamu” berdasarkan teori struktural ‘Abdul-Ba<sith ‘Abdur-Raza<q Badr, (2) Mendeskripsikan karakteristik dan konflik tokoh utama dalam naskah drama “Luzu<mu Ma< La< Yalzamu” berdasarkan teori psikoanalisis Sigmund Freud. Hasil penelitian ini dapat disimpulkan beberapa hal sebagai berikut; Pertama, kondisi dan perkembangan jiwa seseorang tidak terlepas dari pengaruh eksternal yaitu pengaruh psikologis yang ditimbulkan oleh kekuatan dari luar diri pribadi yang dapat bernilai positif dan negatif. Kondisi dan perkembangan jiwa seseorang tidak terlepas pula dari pengaruh faktor internal yang berasal dari pribadi itu sendiri. Faktor internal ditentukan oleh kekuatan psikis yang ditimbulkan dari ketiga sistem kepribadian yaitu id, ego, superego. Kedua, dalam naskah drama Luzu<mu Ma< La< Yalzamu ini, sebagian besar karakteristik dan konflik yang menyelimuti tokoh utama berasal dari dorongan eksternal. Berbagai kesalahan dan penyimpangan yang dilakukan tokoh lain membuat tokoh utama, investigator, turut merasakan konflik serta mempunyai klasifikasi emosi. Hal ini membuat investigator melakukan mekanisme pertahanan terhadap konflikkonflik yang dihadapinya. Kata Kunci : Karakteristik, Konflik dan Psikologi Sastra.

Manuscript as Sacred Object: Robert Hegge’s N-Town Plays

Collectors of medieval religious drama manuscripts routinely bequeathed their names to the play texts they preserved; the titles of the Towneley cycle, the Digby plays, and the Macro plays attest to the importance of prominent bookish intermediaries in saving medieval drama from annihilation by reformers’ zeal and from neglect and time. These same collectors also inscribed new cultural histories on these manuscripts, which could make them material sites for articulating ideological investment, could even charge them with the numinous power of sacred relic connecting present to past. This essay focuses on the afterlife of the East Anglian N-Town plays, exploring the ways that the Cotton Vespasian D.8 manuscript continued to be “performed” (in an extended sense of that word) in ideologies of recusancy and antiquarian possession in the life of its little-known early modern collector, Robert Hegge.

Performative Reading and Receiving a Performance of the Jour du Jugement in MS Besançon 579

Performative Reading and Receiving a Performance of the Jour du Jugement in MS Besançon 579 Karlyn Griffith (bio) MS Besançon 579, a deluxe mid-fourteenth-century manuscript, contains the only known version of the French mystery play Jour du Jugement, which provides the most detailed and extensive dramatic account of the arrival, life, and destruction of Antichrist (fig. 1).1 In this version of the legend, Antichrist is conceived by the whore of Babylon and a devil in disguise. Later, Antichrist costumed as a Franciscan friar performs a variety of miracles to convert unsuspecting Christians. In response, the two Apocalyptic Witnesses, Enoch and Elijah, are sent to warn against the eternal consequences of succumbing to Antichrist's deceptions. After kings and cardinals have converted to Antichrist and the pope is imprisoned for refusing to do so, God sends to earth his seven avenging angels with vials of his wrath. Upon Antichrist's destruction, Mary and the saints implore Christ before his Final Judgment to spare those who had remained faithful. The drama is presented in the manuscript through the verbal, visual, and dramatic texts that construct a version of the performance text for the reader/viewer. The play's written, dramatic, and visual texts draw from a variety of sources to present a compelling and realistic portrayal of how and when Antichrist might penetrate contemporary Christian society, but it is also filled with humor, sex, dancing, fantastic miracles, and violence to delight as well as warn of the frightening reality of Antichrist. This essay investigates how the dramatic subject matter of the miniatures of Besançon 579 affected the way in which the manuscript was conceived and illustrated and the manner in which the reader/viewer receives not only the dramatic text, but also the performance text of the Jour du Jugement through the visual representation of the play. [End Page 99] Click for larger view View full resolution Fig. 1. Besançon, Bibliothèque municipale, MS 579, fols. 27v–28r, c. 1330 (Cliché CNRS-IRHT, © Bibliothèque municipale de Besançon). For this mode of reception, imagine the owner of the Besançon manuscript inviting an acquaintance or distinguished visitors to sit and "read" the story of Antichrist. Turning the page, the dramatic performance begins with the preacher's opening sermon. In medieval drama, the narrator plays a critical role, introducing and often summarizing the story before it is enacted.2 Such a narrator is seen in the first small miniature warning of Antichrist's imminent arrival. From his pulpit the preacher, dressed in dark robes, raises an open palm and extends the index finger of his other hand as he addresses a large crowd that includes a king, bishop, pope, tonsured cleric, and several veiled women seated before him. This image, like the rest of the miniatures, introduces the characters and illustrates the mise-en-scene while pictorially advancing the dramatic text and providing a sustained visualization of the action. While the readers hear and look, they simulate the audience's experience of a theater performance. As the action begins, each participant could take a turn speaking the various parts, or one person could assume the task of animating all the speaking [End Page 100] roles. Now, instead of passively receiving the performance, the readers fully and actively participate in a new and original performance. The size and luxury of the manuscript that contains this play suggest an owner who desired a comprehensive and stimulating rendering of the Jour du Jugement within the folios of the manuscript. According to Graham Runnalls's classification of French drama manuscripts, the Jour du Jugement falls into type G: "a luxury manuscript recording the text of a past performance, belonging to a patron or guild, and not intended to be used as the basis of a performance; perhaps intended for reading."3 As a commemorative manuscript, however, the Jour du Jugement includes very little information about staging—only three very brief directions provide any information about the movement of the figures onstage. Any information concerning costumes, stage properties, or staged action can only be discerned in the visual text of the miniatures because the written text is limited...

Some Aspects of Textual Criticism Concerning the Keralite Drama Manuscripts

Aus dem Inhalt: Reinhold Grünendahl: Post-philological Gestures - "Deconstructing" Textual Criticism Wendy J. Phillips-Rodriguez - Christopher J. Howe - Heather F. Windram: Some Considerations about Bifurcation in Diagrams Representing the Written Transmission of the Mahabharata Pascale Haag: Problems of Textual Transmission in Grammatical Literature: The pratyahara Section of the Kasikavrtti Philipp A. Maas: Computer Aided Stemmatics - The Case of Fifty-Two Text Versions of Carakasamhita Vimanasthana 8.67-157 Christina Pecchia: Transmission-specific (In)utility, or Dealing with Contamination: Samples from the Textual Tradition of the Carakasa?hita Birgit Kellner: Towards a Critical Edition of Dharmakirti's Prama?avarttika Yasutaka Muroya: A Study on the Marginalia in Some Nyayamañjari Manuscripts: The Reconstruction of a Lost Portion of the Nyayamañjari- granthibhanga Anna Aurelia Esposito: Some Aspects of Textual Criticism Concerning the Keralite Drama Manuscripts Stanislav Jager: Editing Rajanaka Ratnakantha's Suryastutirahasya and Ratnasataka Takahiro Kato: Bhaskara's Brahmasutrabhasya - An Unpublished Edition by J.A.B. van Buitenen

The Anonymous La reina penitente

other hand, if less than three plays in every 100 analyzed contain animal motifs, the very limitation is significant for comparative purposes . Again, the need for expanding P "Society " is very real if the comedia as a whole reflects the same general pattern as Lope's production—namely that relatively few of the themes and motifs belonging to this category correspond to folk tradition. This is made more evident by the following table, showing the percentages of the total of classifications predominant in the 105 plays of Lope, and in a few of the prose collections.0 ? w e H. Tests 11.5 2.9 5.4 2.6 4.7 J. Wise and Foolish7.921.7 K. Deceptions35.112.2 P. Society6.22.4 T. Sex7.95.6 53.113.825.7 11.76.025.9 2.047.42.4 6.18.69.3 Total68.6 44.8 78.3 78.4 68.0 So far as folklore is concerned social motifs are the least predominant of those occuring with any frequency in Lope, and since he is known to deal with many aspects of society it would be necessary to expand considerably Thompson's chapter P, to accommodate Lope alone. It is entirely possible , however, that another dramatist will be more like Cervantes in this respect, reflecting a higher percentage of social motifs common to folk tradition, in which case any new system would have to overlap the old to a considerable degree. In short, I agree with Reichenberger that in making an Index for the comedia formulations of existing systems should be used freely whenever they fit, but should like to add that it seems to me that the standardization of a system on the basis of Stith Thompson 's Index would be the simplest and most satisfactory approach to a classification. One of the principal reasons for believing a complete classification necessary is, in Reichenberger's own words, that there is "bound to be a great difference in the distribution of motifs in tales springing from and told for a relatively primitive society and plays springing from and produced for members of a complex social organization resting on rigidly upheld religious beliefs and codes of social behavior." This is precisely one of the most fundamental distinctions I would make between Lope—and perhaps Tirso—and Alarcón and Calderón. Lope was a popular playwright, and drew heavily on popular lore and literature; he wrote for the more "primitive" element of society. Alarcón and Calderón wrote for a more limited group. In order to ascertain the extent of difference—or prove that none exists—the coverage must be complete. 1.Charles L. Adams, "Traditional and Novelesque Elements in the Development of Plot in the Dated Plays of Lope de Vega" unpublished PhD Thesis, Stanford University (1954). 2.Ibid., Conclusions, Table X. 3.¡bid., Chapter II. 4.The total number of plays, not the total of the column. 5."Traditional and Novelesque Elements," Conclusions , Table XII. 6.John E. Keller, Motif-Index of Mediaeval Spanish Exempla (Knoxville: University of Tennessee Press, 1949). 7.J. Wesley Childers, Motif-Index of the 'Cuentos' of Juan Timoneda, "Indiana University Publications Folklore Series," No. 5 (Bloomington ; 1948). 8.Terrence L. Hansen, "A Motif-Index of the 'Novelas ejemplares* of Cervantes," unpublished MA Thesis, Stanford University (1948). 9.D. P. Rotunda, Motif-Index of the Italian 'Novella * in Prose, "Indiana University Publications Folklore Series," No. 2 (Bloomington: 1942). The Anonymous La reina penitente Gerald E. Wade, University of Tennessee The manuscript of La reina penitente is described in Paz y Melia's catalogue of drama manuscripts in the Biblioteca Nacional: "de 45 hoj., 4o, 1. del s. xvii. Censura fechada en Sevilla a 25 de mayo de 1601. La letra de algunas hojas de la primera jornada, y de gran parte de la tercera, de mano de Juan Bautista Villegas. La de otras hojas es bastante parecida a la de Tirso." It was Paz y Melia's assertion that the manuscript might be partly in Tirso's hand that aroused my initial interest in it. Photostats , now in the University of Tennessee library, were procured from the Biblioteca Nacional; Miss...