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Abstrak :
Lakon wayang yang bermotifkan kematian seringkali menyuguhkan pesan moral yang mendalam. Sebab-sebab kematian perlu diungkapkan untuk mendapatkan jawaban mengapa seorang tokoh mati dengan cara tertentu. Lakon ranjaban adalah salah satu motif kematian yang perlu dikaji bagaimana seorang tokoh mati dengan cara di ranjab. Abimanyu ranjab menyuguhkan permasalahan antara darma dan karma manusia sebagai implementasi dari peristiwa silam dan kini. Darma merupakan kewajiban manusia sebagai bakti kepada Tuhan untuk menjaga kedamaian dunia. Hasil dari usaha yang dilakukan menuju kedamaian dunia sering disertai pengurbanan (karma). Karma memayungi segala perbuatan serta sikap baik dan buruk setiap manusia. Pesan moral yang disuguhkan melalui lakon ini mengisyaratkan bahwa manusia seyogyanya berlaku jujur dan terbuka. Kebohongan dan ketertutupan terhadap sesuatu yang sakral dapat mengakibatkan penderitaan dan kematian. Pembahasan lakon Abimanyu Ranjab menggunakan pendekatan objektif, metode deskriptif kualitatif yang ditopang dengan studi kepustakaan dan kerangka konseptual teoritis etika Jawa dari Franz Magnis Suseno. Hasil pembahasan ini menunjukkan bahwa antara darma dan karma saling kait mengait satu dengan yang lain. Sumpah seseorang yang bersifat sakral dapat mengenai diri sendiri. Kebohongan dan ketertutupan terhadap urusan relasi pria dan wanita dalam menjalin rumah tangga mengakibatkan penderitaan dan kematian. ...... Wayang Show that use mortality as a theme usually gives a deep moral values. Causes of death should be explained to make audience understand the reason of a character's death. In Ranjaban Story, there is one cause of death that needs to be studied. It is about how a character died because of ranjab. Abimanyu Ranjab Story presents conflict between Darma and Karma of human as an implementation of present and past incident. Darma is human's responsibility from God to keep peace in the world. In order to reach the goal of keeping peace in the world, there must be sacrifices (karma) that followed. Karma is on top of everyone's good and bad deed. The moral value from this story implies that human should be truthful and open. Untruthfulness about sacred thing may cause sorrow and death. The study of Abimanyu Ranjab Story used an objective approach, descriptive qualitative method which supported by literature study and Javanese ethics theoretical conceptual framework from Franz Magnis Suseno. The result of this study showed that there are connection between Darma and Karma. Someone's sacred oath might be a boomerang to his/herself. Untruthfulness in a marriage life between man and woman might cause sorrow and death.

Abstrak :
Pertunjukan wayang orang mengadaptasi cerita-cerita epik Mahabharata dan Ramayana yang mengandung pesan-pesan moral, sembari memasukkan unsur-unsur sendratari. Meskipun dulunya pertunjukan ini dilakukan di ruang semi- terbuka, namun kini telah bergeser menjadi pertunjukan di ruang tertutup. Gedung Pertunjukan Wayang Orang termasuk ke dalam jenis ruangan teater, sehingga penting untuk menganalisis performa akustik dalam teater pertunjukan agar ruang teater dapat mendukung narasi dari pertunjukan wayang orang dan jenis pertunjukan lain yang sejenis. Analisis meliputi material yang digunakan dalam gedung teater, variabel performa akustik ruang berupa pengukuran reverberation time, sound pressure level, dan D50 dengan menggunakan software rhinoceros dengan plug-in pachyderm. Studi kasus dilakukan di Teater Wayang Orang Bharata untuk menganalisis performa akustiknya dan wawancara dengan penonton di teater. Hasil pengukuran menunjukan bahwa secara keseluruhan performa akustik Teater Wayang Orang Bharata cukup baik dan hanya memerlukan perbaikan di beberapa area untuk mencapai kualitas akustik yang lebih optimal. Teater dapat menambahkan material penyerap suara, melakukan penyesuaian sistem akusitk, dan melakukan pengawasan secara berkala untuk menjaga kondisi akustik supaya tetap optimal. ......Wayang Orang performances adapt epic stories from the Mahabharata and Ramayana, which contain moral messages, while incorporating elements of traditional dance drama. Although these performances were originally conducted in semi-open spaces, they have now shifted to enclosed theater spaces. The Wayang Orang Performance Hall falls into the category of theater spaces, making it important to analyze the acoustic performance of the theater to ensure that it supports the narrative of Wayang Orang performances and similar types of performances. The analysis includes the materials used in the theater building and the acoustic performance variables, such as measurements of reverberation time, sound pressure level, and D50, using Rhinoceros software with the Pachyderm plug-in. A case study is conducted at the Wayang Orang Bharata Theater to analyze its acoustic performance and includes interviews with the theater audience. The measurement results show that overall, the acoustic performance of the Wayang Orang Bharata Theater is quite good, requiring only minor improvements in some areas to achieve optimal acoustic quality. The theater can add sound-absorbing materials, adjust the acoustic system, and conduct regular monitoring to maintain optimal acoustic conditions.

Abstrak :
Penelitian ini bertujuan untuk mendeskripsikan segala risiko yang dihadapi oleh seniman Wayang Orang Bharata sebagai pekerja informal serta untuk mengetahui bagaimana mekanisme atau strategi yang dilakukan mereka untuk bertahan hidup ketika menghadapi risiko ini. Penelitian ini menggunakan metode Kualtitatif dengan jenis penelitian deskriptif. Hasil dari penelitian ini menjelaskan tentang macam-macam risiko yang dihadapi para seniman Wayang Orang Bharata dan juga modal apa saja yang mereka miliki yang dapat membuat mereka dapat bertahan hidup ketika menghadapi risiko tersebut. ......This study aimed to look at all the risks faced by artists Wayang Orang Bharata as informal workers and to find out how the mechanism or strategy that they have done to survive when faced with this risk. This study uses qualtitative with descriptive research. The results of this study describes the various risks faced by Wayang Orang Bharata artists and also any capital they have to make them able to survive when faced with these risks.

Abstrak :
This paper discusses the intricate relation between culture and identity in a web of large ower structure of politics and the market by looking at the ways in which the Indonesian Chinese attach themselves to a lical performing arts tradition. The paper focuses on the history of the wayang orang amateur club called Ang Hien Hoo in Malang, East Java, which emerged from a Chinese diaspora burial assocation, to attract national limelight in the 1950s and 1960s. In this paper, in see the amateur club as a site, not only for cultural assimilation, but also as a meeting space for the diverse migrant Chinese population residing at a host country. The space is user to negitiate their positiaon as citizens responsible to promote and to become patrons of local raditional performing arts. The paper examines how this amateur club ws swept by the cold war politcs and national political turnmol of 1965, and how if fought to survive under the pressures of the global capitalist era. What emerges from the findings is the contradictory fact that the identification of the chinese with the Javanes tradtional performing arts us afirmed precisely as it is marked by Chineseness. Thus, despite the cultural is affirmed precisely as it is marked by Chineseness. Thus, despite the cultural blending, the Chinese Indonesian's patronage of local traditionl art continuously resproduces the double bind of aking home in the culture not seen as their own.

Abstrak :
Buku ini dimulai pada halaman 372, berjudul: 1) Tedhakan Qur?an V (sambungan dari Serat Pananggalan 1935). Diawali dengan cerita Lelakone (kisah) Ngujer yang bertanya kepada Allah, bagaimana caranya menghidupkan benda-benda yang telah mati; 2) Mengenai wayang orang, tulisan BPH Suryadiningrat (hlm.396); 3) Mengenai wewenang tanah di Yogyakarta (hlm.481); 4) Serat Cariyos Purwa Lampahan Ismaya Laku (531).