Seni gerak dalam pertunjukan wayang sering disebut dengan sabetan. Dalam seni gerak wayang dikandung aturanaturan,
norma-norma atau wewaton yang merupakan konvensi yang dianut dan diacu oleh para seniman dalang ketika
menggerakkan wayang-wayangnya. Salah satu konvensi seni gerak dalam pertunjukan wayang yakni udanagara.
Udanegara yakni tatacara bertutur kata, bersikap, dan bertingkahlaku seorang tokoh dalam pertunjukan wayang, yang
di dalamnya dikandung etika dan estetika. Yang dimaksud gerak wayang meliputi, antara lain: menyembah, berjalan,
berlari, menari, terbang, dan perang. Gerak wayang tersebut berprinsip pada status sosial, tua-muda (usia), klasifikasi,
dan wanda tokoh-tokoh wayang. Dalam seni gerak wayang memperhatikan pula prinsip wiraga (benar dan tepatnya
action dalam gerak), wirasa (benar dan tepatnya penghayatan dalam gerak), dan wirama (benar dan tepatnya irama
dalam gerak). Langkah kerja penelitian ini dilakukan secara bertahap, yakni: pengumpulan data (menyaksikan
pergelaran wayang langsung, baik di televisi, live, wawancara kepada para dalang: studi kepustakaan; pengolahan data;
dan laporan penelitian. Penelitian ini menyimpulkan: gerak wayang terdiri dari dua pengertian, “luas” (totalitas gerak
tokoh) dan “sempit” (perang); gerak wayang dibatasi oleh konvensi (norma) yang disepakati para dalang (udanegara);
prinsip gerak wayang mengacu pada status sosial, usia (tua-muda), klasifikasi, dan wanda tokoh wayang; gerak wayang
dewasa ini telah banyak penggarapan, dinamis (tidak terlihat kendor). Perkembangan gerak wayang tersebut seiring
dengan pola pikir masyarakat yang semakin maju, kritis, dan dinamis.
Movement art in the puppet performances is often mentioned as sabetan. Puppet movement art, that contains rules,
norms, guidance (orientation) is convention that is observed and referred to guidance the dalang artists when they move
the puppets. One of the convention of movement in the puppet performance is udanagara. Udanegara, that contains
ethics and aesthetic, is the rules of speaking, attitude, and action for actors in the puppet performance. Puppet
movement include among others paying homage, walking, running, dancing, flying and fighting. That puppet
movement is based on social class of puppet, age of puppet, class of puppet, and mood of expression of puppet.
Therefore, the movement art of the puppet adopts basic wiraga (true or false action in the puppet movement), wirasa
(true or false feeling of puppet movement), and wirama (true or false rhythm in the puppet movement). Method in this
research will be conducted step by step: collection data (to watch of puppet performance on television, live
performance, dialogue with dalang artist), analysis of data, literary research, conclusion and reporting of the research.
This research concludes: puppet movement has of two meanings, large (totality of puppet movement) and narrow
(fighting); puppet movement refers to the conventions (norms), oriented by dalang artists (udanegara); basic of puppet
movement refers to social class of puppet, age of puppet, class of puppet, and mood of expression of puppet; now,
puppet movement becomes more and more creative and dynamic. The development of puppet movement in line with
the way of thinking of society that is more improved, critical, and dynamic.
