Muh. Mukti

Faculty of Language Arts and Culture, Yogyakarta State University

DOI : https://doi.org/10.47191/ijsshr/v8-i2-38

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ABSTRACT

Wayang (puppet) today is a development of wayang in the past. This article aims to find out how wayang is now, then examine it from a philosophical perspective. This type of research is descriptive-qualitative, the object of which is now wayang presented by well-known young generation puppeteers after Anom Suroto and Manteb Sudarsono - such as Purba Asmara, Cahya Kuntadi, and Sigit Ariyanto. Today's wayang will be closely related to wayang in the past, where wayang used to be based on standard, because it was used for offerings to God, so from a philosophical perspective it was a spiritual philosophy. The results: 1. Puppets are no longer for offerings. Because it is no longer for offerings, although it is still based on the standard, it has changed here and there. The story medium is still Mahabarata and Ramayana, but the nature is reality. The puppet furniture includes wayang rai wong puppets, the gamelan adds organ, drums and cymbals. The perpetrator: dalang (puppeteer) often sit at an angle facing the performer, or even the audience. The composers include singers, comedians and public figures. Singers sit in drawers, sometimes stand, even dance, as do singers and comedians. For presentation, the process only involves puppets and wayang, while the structure of the scene changes to a cause-and-effect plot. 2. Puppetry now from a philosophical perspective, falls within the laws of material philosophy.

KEYWORDS:

wayang now, philosophical perspective, material philosophy

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Volume 08 Issue 02 February 2025