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ABSTRAKDisertasi ini mengulas pemaknaan estetika keburukan topeng bondres Bali
sebagai tokoh dalam dramatari topeng Bali. Pembahasan ini diawali dengan
epistemologi tentang topeng (bondres) sebagai sebuah realitas dari representasi
dari “ada‟ atau sebagai karakter manusia yang terwakili oleh topeng. Maskharah
dalam bahasa Arab berarti „badut‟, yang berasal dari kata kerja „Sakhira‟ yang
artinya „mengejek‟, sedangkan dalam bahasa Romawi Kuno topeng dapat
diartikan sebagai „Persona; atau „Prosophone‟ yang artinya manusia. Dalam
dramatari topeng Bali, topeng bondres (tokoh rakyat) ditampilkan dengan ekspresi
wajah buruk sebagai makna transformasi personal dan transformasi sosial.
Dengan memanfaatkan dasar kosmologi topeng (bondres) yang pembacaannya
disandingkan dengan pemikiran inti Jacques Derrida, melalui dekonstruksi Derida
menolak gagasan ordinat dan subordinat atau mengunggulkan yang satu dengan
meminggirkan yang lain, konsep utamanya adalah menolak kebenaran tunggul.
Melalui dekonstruksi Derrida dapat diperoleh teks dan makna baru melalui
pembacaan ulang. Dengan differance , pembacaan perbedaan yang langsung dapat
menampung 2 hal yang berbeda, pembacaan perbedaan terhadap totalitas makna
dalam teks. Dengan grammatology secara garis besar merupakan ilmu „tanda dari
tanda‟, dalam hal ini keburukan topeng Bondres merupakan tanda yang merujuk
pada tanda yang lain, dan bagi Derrida, tanda adalah trace atau jejak yang
berkaitan dengan „kehadiran‟ dan sekaligus sebagai „ketidakhadiran‟.
Studi ini menghasilkan, bahwa dalam sistem kosmologi Bali, nilai
keburukan topeng bondres merupakan sesuatu yang berdiri sendiri , otonom dan
mandiri, eksistensi nilai keburukan yang menempati ruang kesadaran masyarakat
Bali sebagai sistem nilai yang tak terpisahkan dari sistem nilai kehidupan.
Pembacaan makna kosmologi topeng Bondres disandingkan dengan beberapa
pemikiran-pemikiran Derrida, Topeng Bondres dapat dipahami sebagai dimensi
keburukan estetis yang otonom dan sama nilainya dengan kecantikan karena
mampu menghasilkan sensasi estetis yang sama. Topeng bondres mempunyai
penilaian bentuk (form) dan penilaian isi (content) , penilaian terbuka dan
penilaian yang tersembunyi yang hadir karena peran dan fungsi bondres dalam
pertunjukan topeng; penilaian ini berkenaan dengan emosi,afeksi dan apresiasi
manusia yang terangkum dalam bingkai-bingkai (frame) yang terbentuk. Sehingga
topeng Bondres dapat mengkonstruksi kategori-kategori baru bahwa dalam
keburukan wajah terkandung dimensi kebebasan manusia yang sublim.
Kata kunci: Topeng bondres, estetika keburukan, kosmologi-Bali, Dekonstruksi,
differance, trace, grammatology, tanda-teks. ;
ABSTRACTThis dissertation analyze the meaning of ugliness aesthetic of Balinese
topeng Bondres as a figure on Balinese topeng dance drama. This study is started
by epistemological study on topeng bondres as a reality of being representation or
a human character that represented by topeng. Maskharah in Arabic means “a
clown” from verb “shakira” means “parodying”. In ancient Roman, topeng means
“persona” or “prosophone” means human being. In Balinese topeng dance drama,
topeng bondres (as folk character) is shown through ugly face expression which
has a meaning of personal and social transformation. With using the cosmological
basic of topeng bondres and Jacques Derrida‟s point of views prove that Derrida‟s
deconstruction ignores the idea between ordinate and subordinate or to prevail one
over the other. His main thought is ignore the sole truth. By mean of Derrida‟s
deconstruction may earn a new text and its meaning through a new model of
reading. By differance, direct reading of differences can accommodate two
difference things as a reading model of totally text meanings. By grammatology
that generally as a science of sign proves the ugliness of topeng bondres as a sign
that refers to the other sign. For Derrida, a sign is a trace or imprint that related to
presence and absence.
This study proves that in the Balinese cosmological system, the ugliness of
topeng bondres is autonomous. The existence of ugliness occupies the domain of
Balinese‟s consciousness as unseparated value system from their collective life
system. The reading of cosmological meaning of topeng bondres may compare
with Derrida‟s mode of thoughts that topeng bondres can be understood as an
autonomous dimension of the aesthetics of ugliness and has a same value with
beauty because able to create the same aesthetics sensation. Topeng bondres has
both form and contain assessments as well as open and hidden assessments
because of its role and function in topeng performances.
These assessments relate
to framing of human emotion, affection, and appreciation. It means topeng
bondres can construct new categories that in ugly face contains the sublime of
human freedom., This dissertation analyze the meaning of ugliness aesthetic of Balinese
topeng Bondres as a figure on Balinese topeng dance drama. This study is started
by epistemological study on topeng bondres as a reality of being representation or
a human character that represented by topeng. Maskharah in Arabic means “a
clown” from verb “shakira” means “parodying”. In ancient Roman, topeng means
“persona” or “prosophone” means human being. In Balinese topeng dance drama,
topeng bondres (as folk character) is shown through ugly face expression which
has a meaning of personal and social transformation. With using the cosmological
basic of topeng bondres and Jacques Derrida‟s point of views prove that Derrida‟s
deconstruction ignores the idea between ordinate and subordinate or to prevail one
over the other. His main thought is ignore the sole truth. By mean of Derrida‟s
deconstruction may earn a new text and its meaning through a new model of
reading. By differance, direct reading of differences can accommodate two
difference things as a reading model of totally text meanings. By grammatology
that generally as a science of sign proves the ugliness of topeng bondres as a sign
that refers to the other sign. For Derrida, a sign is a trace or imprint that related to
presence and absence.
This study proves that in the Balinese cosmological system, the ugliness of
topeng bondres is autonomous. The existence of ugliness occupies the domain of
Balinese‟s consciousness as unseparated value system from their collective life
system. The reading of cosmological meaning of topeng bondres may compare
with Derrida‟s mode of thoughts that topeng bondres can be understood as an
autonomous dimension of the aesthetics of ugliness and has a same value with
beauty because able to create the same aesthetics sensation. Topeng bondres has
both form and contain assessments as well as open and hidden assessments
because of its role and function in topeng performances. These assessments relate
to framing of human emotion, affection, and appreciation. It means topeng
bondres can construct new categories that in ugly face contains the sublime of
human freedom.]
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