ANALISIS TEKS DAN KONTEKS DALAM PEMENTASAN TEATER WAYANG GEDEK / JALILAH BINTI JAMIL

Bibliography : pages 228-231.

This study analyses the creative aspects of Wayang Gedek, which is a kind of shadow puppet, performed in the north of Peninsular Malaysia by the Wayang Kulit Seri Asun Group. Mr. Abdul Majid Mohd Noh is the key informant and the only puppeteer who is still active in Wayang Gedek theater performances. Analysis of the Wayang Gedek is divided into two aspects, namely the text analysis backed by Firth theory (1957) and context analysis which is based on descriptions of context by Halliday and Hasan (1991). Data for the research were recorded from four Wayang Gedek theater performances and were then transcribed for data analysis. The researcher used descriptive analysis to examine the relationship and describe the connection between text, context, and culture that come about in the Malay community. In the aspect of text, the researcher witnessed the Siam folklores and local influences, particularly in the selection of proper nouns of human life. The usage of Kedah Malay dialect is also viewed as dominating the aspects of language, particularly in the use of pronouns and verbs. As this native takes place spontaneously, verbs without inflections are significantly used besides disorderly and less accurate structures sentences. The aspects of context on the other hand, focusses on metafunctions, situation, and culture. In language metafunctions, the ideational, interpersonal and textual elements are explained at length. Situational context basically discusses the field, mode and tenor. The cultural contexts further show the relationship between Malay culture with external influences, such as Siamese-Buddhist and Islamic influences. Since staging of Wayang Gedek is now more of a commercial nature, i.e. as a source of income for the puppeteer and his group members, the contents are seen as trying to meet the needs and tastes of the local people not to mention dealing with the modern media rivals that are so influential. Mixture of language was used by the puppeteer in presenting the story. Although Kedah dialect dominated the entire narrative, there were also some elements of the Siam language, especially at the beginning of the opening stage. Siam language is maintained to show the identify of Wayang Gedek which indeed has the influence of Siam from its mentor, Nang Talung. Besides that, English was also used in the form of comedy that entertained tha audience. Elements of other languages, such as Hindi, Mandarin, and Tamil were also infused by the puppeteer in the singing of its comedy character.