[
ABSTRAKPenulisan sastra drama di Indonesia dari masa ke masa memperlihatkan perkembangan yang
selaras dengan dinamika masyarakat sebagai sumber cerita yang tidak habis-habis. Setiap
zaman memiliki sastra drama kanonnya sendiri-sendiri sekaligus merepresentasikan bentuk
dan isi yang mencirikan semangat zaman. Demikian pula dengan sastra drama karya
Akhudiat yang dibuat pada tahun 1970-an. Karya-karyanya sebagaimana juga karya penulis
lain sezaman memperlihatkan semangat bereksperimen, baik dalam segi bentuk maupun
isinya.
Penelitian ini membahas lima karya Akhudiat yang dibuat antara tahun 1972 hingga 1977,
dengan berfokus pada dua karya, yaitu ?Jaka Tarub? dan ?Re? yang dipandang menampilkan
pencapaian kreativitas Akhudiat. Dua pendekatan digunakan untuk menelaah karya-karya
tersebut, yaitu pendekatan struktural digunakan untuk mendapatkan komposisi setiap karya
sebagai wujud dari realisasi gagasan Akhudiat, dan dari komposisi itu diperoleh teknik
pengaransemenan yang berpola. Pola tersebut dalam tataran struktur, yaitu pola dramatik,
pola bahasa, dan pola permainan. Selain komposisi secara struktural, karya-karya Akhudiat
juga mengandung unsur tekstural, berupa musik dan gerak, yang membangun dramatik secara
signifikan. Di samping masalah komposisi, pendekatan intertekstualitas terhadap karya-karya
Akhudiat itu untuk menunjukkan jalinan antarteks yang membangun pemaknaan di pembaca.
Pola hubungan transtekstualitas pada karya-karya tersebut memperlihatkan jenis hubungan
antarteks berupa intertekstualitas, paratekstualitas, metatekstualitas, dan hipertekstualitas
yang diwujudkan dalam berbagai tataran baik struktur maupun tekstur.;
ABSTRACTFrom time to time, the writing of drama in Indonesian literature has shown a development
which is consistent with the dynamics of Indonesian community as its inexhaustible source of
stories. Every era has its disciplinary canons of literary drama on their own as well as
representing the form and content that characterizes the spirit of its age. Similarly, the literary
dramas of Akhudiat?s which were composed in the 1970s, as well as contemporary works by
other authors in the respective era, show the spirit of experimentation, both in terms of form
and content.
This study discusses Akhudiat five works which were written between 1972 to 1977, with
a focus on two of his works, namely "Jaka Tarub" and "Re," which are perceived as a notable
achievement of Akhudiat?s creativity. Two approaches are used to examine these works.
Firstly, the structural approach is used to obtain the composition of each work as a
manifestation of the realization of Akhudiat?s ideas, from which the patterned arrangement
techniques are identified. The patterns studied at the structural level are the dramatic patterns,
pattern of languages, and the pattern of the game. In addition to structural composition,
Akhudiat?s works also contain textural elements, such as music and movement, which build
up the dramatic scenes significantly. Secondly, in addition to the structural approach,
intertexuality approach is used since Akhudiat?s works demonstrate intertextual fabrics which
further develop readers?process of meaning-making. Transtextuality relationship patterns in
those works also reflect the types of intertextual relations in the forms of intertextuality,
paratextuality, metatextuality, and hypertextuality which are embodied in various levels,
especially structure and texture.;From time to time, the writing of drama in Indonesian literature has shown a development
which is consistent with the dynamics of Indonesian community as its inexhaustible source of
stories. Every era has its disciplinary canons of literary drama on their own as well as
representing the form and content that characterizes the spirit of its age. Similarly, the literary
dramas of Akhudiat?s which were composed in the 1970s, as well as contemporary works by
other authors in the respective era, show the spirit of experimentation, both in terms of form
and content.
This study discusses Akhudiat five works which were written between 1972 to 1977, with
a focus on two of his works, namely "Jaka Tarub" and "Re," which are perceived as a notable
achievement of Akhudiat?s creativity. Two approaches are used to examine these works.
Firstly, the structural approach is used to obtain the composition of each work as a
manifestation of the realization of Akhudiat?s ideas, from which the patterned arrangement
techniques are identified. The patterns studied at the structural level are the dramatic patterns,
pattern of languages, and the pattern of the game. In addition to structural composition,
Akhudiat?s works also contain textural elements, such as music and movement, which build
up the dramatic scenes significantly. Secondly, in addition to the structural approach,
intertexuality approach is used since Akhudiat?s works demonstrate intertextual fabrics which
further develop readers?process of meaning-making. Transtextuality relationship patterns in
those works also reflect the types of intertextual relations in the forms of intertextuality,
paratextuality, metatextuality, and hypertextuality which are embodied in various levels,
especially structure and texture., From time to time, the writing of drama in Indonesian literature has shown a development
which is consistent with the dynamics of Indonesian community as its inexhaustible source of
stories. Every era has its disciplinary canons of literary drama on their own as well as
representing the form and content that characterizes the spirit of its age. Similarly, the literary
dramas of Akhudiat’s which were composed in the 1970s, as well as contemporary works by
other authors in the respective era, show the spirit of experimentation, both in terms of form
and content.
This study discusses Akhudiat five works which were written between 1972 to 1977, with
a focus on two of his works, namely "Jaka Tarub" and "Re," which are perceived as a notable
achievement of Akhudiat’s creativity. Two approaches are used to examine these works.
Firstly, the structural approach is used to obtain the composition of each work as a
manifestation of the realization of Akhudiat’s ideas, from which the patterned arrangement
techniques are identified. The patterns studied at the structural level are the dramatic patterns,
pattern of languages, and the pattern of the game. In addition to structural composition,
Akhudiat’s works also contain textural elements, such as music and movement, which build
up the dramatic scenes significantly. Secondly, in addition to the structural approach,
intertexuality approach is used since Akhudiat’s works demonstrate intertextual fabrics which
further develop readers’process of meaning-making. Transtextuality relationship patterns in
those works also reflect the types of intertextual relations in the forms of intertextuality,
paratextuality, metatextuality, and hypertextuality which are embodied in various levels,
especially structure and texture.]
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