|Prof. Dr. Edi Sedyawati|
Theatre has some technical elements such as plot, literature, dialogue, style of conduct, and order form. In the theatrical tradition of these elements have certain patterns. In addition, theatrical traditions also often have certain conventions about section (pembabakan) place, time and situation. Changes or developments in the form of theatrical tradition is the change in the elements, which do not need the same fast pace. For example samanda East Kalimantan: dialogue and style of behavior change, but the convention section retained, for example, started the play with song introductions such as the so-called theater mamanda baladon in South Kalimantan and berladun the theater supportive of Riau.
A more decisive element in the theatrical tradition is a style of behavior, namely how the roles performed. Realist theater that so deeply impact on the world of film that has been so widespread, demand accounted for on the basis of every role possible in reality. Thus, each role should be viewed as something unique that has a unique background. Unlike the case with the characterization in the theatrical tradition in general, where each role is a manifestation of a certain stereotype temperaments. And every character stereotype that demands clarity of expression through a specific behavior patterns of style: how movement, manner and tone, and the way her makeup. But the tightness of this pattern of behavior styles in various forms of theater is not the same tradition. In the theatrical forms that are less stringent, costumes and songs can be easily influenced by such films. Being in the forms of theater that is more stringent, the overall style of behavior, it can also change slowly due to changes in the interpretation of a role. Changes in interpretation of these roles more so will be realized through sanggit.
Story line in the theater tradition pembabakan usually controlled by a specific pattern: there are scenes of the opening and closing, there is a sequence of rounds that have been determined, there are parts penyeling scene. Pembabakan pattern can be changed internally for example due to the changing demands of the desired length of a spectacle. Thus the rounds there may be shortened or eliminated. Changes to this pembabakan pattern can also occur due to saturation of the parties singers. So they do the execution. This is often done by Ki Narto Sabdo example, a Javanese puppet puppeteer, who deliberately and fairly "announcement" featuring puppet characters skin on rounds that are not "in place"; He also frequently change the atmosphere of that particular round so not "as usual". The changes in the pattern of this pembabakan had also experienced by ludruk of East Java. And in a great neighborhood also experienced during the development of other forms of theatrical tradition serahim, the merry-go-nobles supported it, dermuluk, and mamanda. Because the idea of spectacle is spread to various arreas, then in each new place he had to adjust
1) Traditional Theatre Week 1977, featuring: ketoprak ongkek (Yogya), ubruk (West Java), mamanda (South Kalimantan), supportive (Riau) and mask prembom (Bali).
2) In 1980, the adjacent two occasions, namely the Comparative Study of Theatre speak on 2-3 November and the People's Performing Arts Festival on December 10 to 14, has shown:
b) Six-spoken art form, namely: plash (Lombok), cekepung (Bali), sinrili (South Sulawesi), puppeteer jemblung (Central Java), templing / kentrung (East Java) and warahan (Lampung).