Hamalik (2001:57) defines learning as a structured combination includes the elements of human, material, equipment, and procedures that affect each other to achieve the learning objectives.Through these definitions we can give limits of learning to write a play as the process of learning to write a play that is supported by a series of learning components to achieve the goal of learning to write a play.
Drama is the composition of poetry or prose that is expected to describe the life and character actors through dialogue behavior or staged. Drama is often called the theater, the plays are staged as an expression of beauty or art. As a work of art, drama need to be appreciated. One way to appreciate the drama is to find the elements of drama. One element that is prominent.
Mulyana (1998) define all mutual structure of the play as follows.
a. Alur and pengaluran
b. People and characterizations
c. Background and role of background
d. Themes
e. Equipment
f. Language
a. Alur and Pengaluran
Rules concerning the plot is the archetypal story, conflict, plot movement, and presentation. The so-called conflict is the occurrence of attraction between different interests, which allows the play develops in a dynamic flow motion. Thus, the motion path is composed of three major parts: the initial situation or also called exposure, conflict, and resolution. Then, presenting the basic pattern is done by dividing it into sections called scenes and round. The peculiarity of a drama would look through the presentation of the story in half and scene composition.
Determining Conflict with Data Showing That Support
In the drama, the conflict is the element that allows the characters interact with each other. Conflict is not always a fight, brawl, or hostility between the characters. Inner tension between the characters, different views, and attitudes among leaders is already a conflict. Conflict can make the audience interested to continue to follow or watch drama performances.
Consists of two forms of conflict, namely the external conflict and internal conflict. External conflict is a conflict between a character with its natural environment (physical conflicts) or with the human environment (social conflict). Physical conflict is caused by a clash between the leaders with the natural environment. For example, a character encountered that problem when the flood hit village. Social conflicts due to the relationship between human or social problems. For example, conflicts between workers and employers at a factory that resulted in demonstarasi workers. Internal conflict is a conflict that occurred in the self or soul figure. This conflict is a clash or problems experienced by a character with itself, such problems ideals, hidden desires, decisions, loneliness, and faith.
Both types of conflict above can be realized with various events taking place in a staging drama. The conflicts there, which is the main conflict and the conflicts of supporters. Major Conflict (bias external conflict, internal conflict, or both) is the central plot of the drama are staged, while supporting conflicts serves to reinforce the presence of major conflict.
How to determine conflicts with data showing that support in a drama? The data supporting the existence of conflicts among others can be seen from different viewpoints and attitudes revealed in the dialogue, expression and lakuan figures.
b. People and characterizations
Figures in the drama must have characteristics, such as proper name, character, and social environment that is clear. In short, a character or good character traits or characteristics should have a three-dimensional, ie that has the dimensions of physiological, sociological, and psychological. Harymawan (1988:25-26) in his book, dramaturgy, said that details of the physiological dimension consists of age, sex, body condition, and characteristics of the face; sociological dimension consists of social status, occupation (job title and role in society) , education, personal life, outlook on life (faith, religion, and ideology), social activities / organizations, hobbies and passions, nation (tribe and descendants); psychological dimension includes the mentality and morality, temperament, and intelligence (intelligence, skills, and special expertise in certain fields).
Usually, the main characters appear at the beginning of the story, namely at the stage of exposure. It was intended that the public, especially the reader or viewer can recognize them. Throughout the story, the characters will retain their characteristics. Then, the conflict created by the differences that exist between the characters, who strive to accomplish their desires. The difference was that more and more increasing conflict and culminating as the climax.
c. Background and Role of Background
Background in staging the play consists of place, time, and atmosphere. Structuring the background will turn the atmosphere. Structuring the background will turn the atmosphere, strengthening the character of leaders, and make the staging of the play more interesting. Therefore, the provision setting the election will determine the staging of drama in keseluruhan.Seperti like grooves and the characters, elements of space and time started to follow the general convention based on imitation of the reality of life. Space can be inserted with the author with staging instructions (sometimes referred to as kramagung, waramimbar, or beside the text) and dialogue, conversation, or wawancang. The space which is footing the incident occurred is generally clear, support lakuan drama, and in accordance with the scope cerita.Konvensi time should also be subject to the principle of cohesion and clarity. In the drama, when did or when the characters time to act is now, while the story time or time used by the characters in their dialogue can be either the past or the future. The past occur, for example, to tell the events they experienced, while the future can be used to submit a plan or forecast events that will happen.
d. Dramatic Themes
The theme of the drama is the idea or main idea that underlies an act drama. The theme of the play refers to something that became the subject who wish expressed by the playwright. The theme is general and related to aspects of life around us.
Main theme is the overall theme that became the foundation of drama plays, while additional themes are other themes contained in the drama that support the main theme.
How to find a theme in drama? The theme of the drama is not conveyed implicitly. After watching the whole scene and dialogues in the staging antarpelaku
drama, you will be able to find the theme of the play. You must be concluded from the overall scene and the dialog is displayed. That is a theme that was found is not based on specific parts of the story.
Although the theme of the play tend to be "abstract", we can show the theme by showing that there is evidence or reason in the story. The evidence can be found in the author's narration, the dialogue between actors, or a scene or series of interrelated scenes, which all are supported by elements of another drama, such as setting, plot, and narration centers.
e. Equipment
Equipment is also subject to the conventions as elements we have mentioned. Supplies are typical elements of theater, which can be either the object or object-banda required as a complement to the story, such as equipment characters, costumes, and stage equipment. Supplies (in kramagung and wawancang) is always in accordance with the purposes of the story.
f. Language
Language in the conventional drama stilistika also subject to the convention. For example, the characters engage in dialogue with the diversity of languages in accordance with their social environment and their character. In addition, a prominent communicate with other leaders to convey a message. Then, among those expected to occur in a meaningful dialogue that will lead to the story develops.
Writing a play is necessary preparations to determine the theme, plot, to frame stories, characterizations, conflicts, and settlement. In general, manuscript prepared for the staged drama on stage. Therefore, the play consists of dialogues between characters are one with the lainnya.Cerita drama that is often performed at this time usually tells the human side of life such as poverty, the struggle of life, love in the elderly and so forth. So, the story of the play is a miniature of a society that can be contemplated, be learned, or criticism of a very subtle but sharp on people's lives or life of the country. But there is also the drama that only aims to entertain or also to educate.
Writing Drama Scripts
Write a play different from writing poetry, short stories or novels, when poetry written in the form beris and the temple. Short stories and novels written in sentences that form paragraphs with a direct quote or conversation. Meanwhile, the drama is written in two parts. The first section contains the conversation and the second part contains the staging instructions, such as the provision of movement, expression of the players play or stage situations.
Steps to develop a play
a. Determine theme / story ideas
b. Determining the actors / characters
c. Determining the scenes
d. Writing the script
Qualifying when we will write a play
Sylado Remy (1996) suggests that there are four terms of qualifying when we are going to write drama, namely (1) the contents of dramatic, (2) dramatic language, (3) dramatic form, and (4) dramatic structure.
a. Contents dramatic
In the play should contain the premise and theme. The premise is a major issue which would be appointed in the story, sedangan themes can be understood as a manifestation of the premise, namely by giving answers or solutions that are menympulkan. For example, if the premise is "afraid of women", the theme could be the following statement, "a man who was afraid of his wife directly harm others."
Once we can determine the premise and theme, we can also outlines the dramatic content which we will develop in a play later. For example, the premise and theme of the above can be described thus: "A colonel suddenly growled in the field, major scolding. Major confused, helpless, and not daring to his superiors that, then tell off an all-out on the captain. Captain did not dare to his boss, then curse rnaki lieutenant. Lieutenant did not dare to his boss, then slapped the right cheek and left cheek sergeant. The sergeant did not dare to his boss, then beat and kicked the corporal. The corporal did not dare to his boss, then beat up the soldier until bruised. Under the soldiers no longer rank the lowest. Suddenly a dog over there. Jump soldiers beat dog to death with rifle butts. The issue essentially turns can be traced from the very beginning, the colonel turned out to have a "boss" who is feared, that his own wife.
b. Dramatic language
Language drama that we use to prosaic, poetic, or sosiologik. If we like the dialogues that have been prepared with sentences like prose, the language of drama we belong to the prosaic language. However, if we write it by focusing on diversification, such as the arrangement of stanza, lines, rhymes, and rhythms, the language of drama we are prosaic. Then, if the dialogues drama we adjust to the context, allowing the emergence of diverse and Indonesian dialects, it can be ascertained that we use language that is sosiologik drama.
b. Dramatic form
Concerning the dramatic form is the range of expression, style of expression, and literary plots. In a conventional drama, we have identified a variety of standard expressions, such as tragedy, comedy, tragicomedy, melodrama, and farce (jokes).
Style of expression concerning the vision and the author's view, which penuangannya usually in accordance with the understanding that dianutnya or stream, whether realism, expressionism, existentialism, or absurdisme. Authors can only select a variety of expressions to suit his views.
Plot is a plot literary texts contained in the drama. So, the plot made by the author, go to the plot that is realized by the motion of the actor who performed on stage.
c. Dramatic structure
Concerning the structure of these dramatic developments and links that appear antarkonflik, peaked, and ended. In a conventional drama, dramatiknya structure like classical convention or plots according Aristotelles may also like that developed by Gustav Freytag (Harymawan, 1988: 20), the exposition, complication, resolution, climax, and conclusion. Conclusion of the tragedy called katastrof (ends with sadness), while in the comedy called denumen (ending with happiness).
Some Dramatic Script Writing Training
With knowledge of the conventions of drama and with added courage, we can begin to write the play in accordance with the advice Japi Tambajong. However, if the mastery of the above qualifications that do not take a snap, then some of the practical training that were modified by Moody (1971: 88) can be used as a handle material, namely by (1) explore the value-dramatic indigo (from the drama that already exist), (2) write an imaginary dialogue, and (3) creating dramatic situations from various sources.
a. Adapt, adapt, and visualize Drama already There
Drama is available at libraries, in bookstores, or are used as materials in the school curriculum more that "good" to be read than staged. This is because not every playwright knows the ins and outs of the theater or the staging, even when they write plays, his mind must have tried to visualize the stage. This situation resulted in the party will perform a drama, such as directors, need to edit the first plays to be staged. In addition, between drama as a literary work on the one hand and the theater on the other hand is a form of art that have their peculiarities nasing. In theater, the play is just one element of theater that the director is more important than kretaivitas autonomy playwright.
Let's say that you are a director who will make a drama script into performance art. There were two plays that attract you, but there are two issues remain unresolved. The first draft of a manuscript translation of foreign languages and therefore has not contextual. The second manuscript kramagung little or instructions include acting so poor with visual imagination. How do I solve this problem? To be contextual, the first script can you adapt or you sadur according to the context of the times and places that you want and the second script can dikonkretkan with more clarifying kramagungnya. The first example we mentioned when discussing Rendra drama Robbers with her, while the second cohtoh often carried out by the director in the production process, ie with more concretize a play by Floo-rplan (drawing direction of movement of players) and promp-tbook (manuscript been edited in accordance with the purposes of staging).
b. Creating Imaginary Dialogue
Writing exercises can you do by making an imaginary dialogue based on a very dramatic situation you know. For example, you create a dialogue between two parties who have a problem or concept to the contrary: the workers with the employer, the hunters with environmentalists, traders sidewalk with Tibum officer or Satpol PP, or we can also solve problems that the review from two angles different. In the mass media sometimes there is a rubric that contains imaginary interviews with figures who have died, for example, an imaginary interview with Bung Karno Christianto Wibisono. The interview was made because the author (the interviewer) is very familiar with the subject being discussed. He knew perfectly well who the Bung Karno, what ideas and philosophy.
c. Containing a variety of sources Mendramakan dramatic Events
Our day now is the information age. If small and trivial event can attract as nicely packaged in preaching, how about a big event, like the fall of the aircraft, bloody coups, earthquakes, and meningganya
head of state? Such events of course you can make the writing of drama. With records, you must be able to see or discover the dramatic events in it. For example, if you read the news about the fall of Adam Airi aircraft or Garuda, you can make dramatic events by imagining that you are part of the passengers who survived, or when you read the news interruption caused by a football match spectators prevailing anarchy, you imagine that You're the trouble maker was so nervous, anxious, and fear stirred within the chest.
Source search dramatic events, of course not just news in newspapers, magazines, or television, but any source that interests you and is seen as a potential in revealing the dramatic events. For example, essays, court was the court, even a character profile can contain a dramatic event, particularly if our orientation to the performances on stage. As evidence, the theater group in Jakarta, the Theatre SAE never show drama titled Growth in Dining Table, that the script is sourced from various writings in the newspapers; Wellem Pattirajawane, an actor from the Small Theater, featuring monologues ever sourced from Indonesia Menggugat book written by man Karno, Or Adi Kurdi, actors from the Theatre Workshop Renda, never show monologue that came from Adi Andojo profile and courage as a young justices.
However, we must return to its original purpose, namely to practice writing plays. Therefore, all the material chosen for your dedicated skilled writing plays, for instance with materials that were nicely packed into the dialogue and kramagung, which is then laid back in a scene by scene and act.
