KEHADIRAN NASKAH PEDALANGAN KARYA TRISTUTI RAHMADI SURYASAPUTRA DALAM PERTUNJUKAN WAYANG KULIT GAYA SURAKARTA

ABSTRACT This research is aimed to reveal several phenomena about the appearance of Tristuti Rnizinadi Suryasaputra work of puppetry script for the performance of Surakartanese purwa shadow puppet (pakeliran). The main discussion of this research including: (1) why Tristuti Rnlinzadi Suryasaputra is work is commonly used by the Surakartanese dhalangs(2) how do the puppeteers response this script(3) what is the effect of this presence script in puppetry fieldand (4) what is the textual and contextual aspect of this script? To discuss this problem, the researcher applies a qualitative descriptive methodology. These problem statements are ana¬lyzed through the Alfin Boskoff change theory and Javanese puppetry esthetical concepts. The research data are gathered by library research, interview and observation. From several of Tristuti\u27s works, textual discussion is focused on puppetry script in the story of Babad Wniza Marta, Sasaji Raja Suya and Wirathaparwa. The result of this research shows that Tristuti\u27s scripts have operational fea¬tures, attractive story creation, easily understood and have many variants to bring into live. The language used for naration has literary characteristics with fill of verseswhile its character dialogues using daily language and is very lively. All of these are possible since the script was made by a puppetry practitioner who had achieved the highest career in this field. Every puppeteer own ways in responding the Tristuti Rahmadi Suryasaputra work of puppetry scriptsome of them only use a part of this script, others accept all of this script but they also make some editions according to their flavourand some others perform this script just the same as the original one. This script has given a valuable contribution toward the story creation and the puppetry rhetoric, on the other hand it decreases the puppeteer own shfle. According to the textual aspect, most of the story garap is emphasized on the pathet nem part, while on the pathet sanga part and pathet manyura it is only listed the frame of its scenes. Therefore, it is needed the interpretation of the puppeteer. Thus, the main characters of the story receive improper portion of garap. However, according to the contextual aspect, this script has led to the presence of livelier, fresher, smoother and interesting pakeliran. Keywords: shadow puppet performance, Surakarta style, puppetry script, Tristuti\u27 s work