ANDRIW

Foto saya
Metro-Jogja-Solo-Jakarta, Indonesia
* S3 Pendidikan Bahasa - Universitas Negeri Jakarta * S2 Pendidikan Bahasa Indonesia - Universitas Sebelas Maret Surakarta. * S1 Pendidikan Bahasa dan Sastra Indonesia - Universitas Negeri Yogyakarta, * SMAN 2 Metro * SMP Kartikatama Metro * SDN 5 Metro Selatan
(HAK CIPTA DILINDUNGI UNDANG-UNDANG.BAGI YANG MENGUTIP HARAP MENCANTUMKAN NAMA PENULIS)

Minggu, 27 Mei 2012


A THESIS

EFFECTIVENESS OF DRAMA LEARNING MODEL WITH ACTING TRAINING TECHNIQUE OF PAKEM MODEL OF ABILITY ACTING IN STAGING SEEN OF INTEREST PRACTICING DRAMA
(Experiments In Class XI Student of SMAN 1 Gamping, Yogyakarta).


Prepared to Meet the Requirements Achieve in part degree of
Master of Education

 
The Commision Supervision:

Prof. Dr. Herman J. Waluyo, M.Pd.
Dr. Budhi Setiawan, M.Pd.

by
 ANDRI WICAKSONO
S840908003


INDONESIAN LANGUAGE EDUCATION PROGRAM
GRADUATED SCHOOL
SEBELAS MARET UNIVERSITY
2012


ABSTRACT
Andri Wicaksono. S840908003. Of 2010. Effectiveness of Drama Learning Model with PAKEM Model Training Technique to Drama Act of Ability Acting in Staging of Interest Seen Practicing Drama (Experiments in Class XI student of SMAN 1 Gamping, Sleman. D.I. Yogyakarta)
This study aims to examine the influence of the drama learning model, drama training interests, and the interaction between the learning model of drama with PAKEM model acting training techniques and the interests on drama learning on the ability to play character on stage in class of XI student of SMAN 1 Gamping, Sleman. D.I. Yogyakarta.
The research was conducted in SMA Negeri 1 Gamping, Sleman, D.I Yogyakarta. The method used is an experiment with 2 x 2 factorial design. The study population was students SMA 1 Gamping, Sleman, D.I Yogyakarta academic year 2011/2012 while the sample taken as many as 32 students a class of XI student. Samples were taken by purposive random sampling technique. Data collection techniques portrayed in the performance capability is playing character test, and drama learning interest were tested by questionnaire. Analysis of data analysis techniques using Varian Two Pathway.
The results showed that: (1) PAKEM models acting training techniques are used more effectively than the conventional drama of learning method, namely (Fh (k) = 531.44> 4, 20 = Ft), (2) ability to act the lead character on the stage on students who have a high interest in practicing drama is more effective than a low one (Fh (b) = 132.93> 4, 20 = Ft), and (3) there are interaction between PAKEM model acting training techniques and drama learning interests then influences students ability to act the characters on drama (Fh (I) = 26.71> 4, 20 = Ft).

Key words: PAKEM model to act training techniques, learning the conventional drama, drama training interests, ability to play the lead character in the drama performances.

A.    Background of The Issues
The learning drama in school only emphasizes text analysis and discussion the theory without giving ample opportunity for students to experience it through practical performance. It will lead to learning becomes tedious drama. Moreover, the lack of variety in teaching methods and strategies with an emphasis drama affective and psychomotor side has led to a generalization that learning is presented as the appreciation of the drama seem prose and poetry that is its emphasis on text analysis and theory, but the drama, as a literary work requires treatment differ in their learning given the structure of the drama texts designed for a staging.
Playing the drama is a invaluable opportunity for students to acquire knowledge and understanding of textual, contextual and practical experience (staging). Demands of student competence is not only focused on cognitive aspects, but also affective and psychomotor performances make drama as a medium of learning is useful and meaningful in ushering students real life in the community.
The learning how to play drama not just a purely textually, but the drama is a a system of learning in a contextual whole education system. That is, learning is never sterile drama of life factors. He was integrated in a learning system that konfiguratif.
Based on the above description, is considered necessary to find models playing drama a more relevant learning, adaptive, efficient, and productive to be able to assist teachers in implementing the learning.
The condition of learning ability played a character drama with conventional techniques considered only emphasizes text analysis and discussion the theory of without giving ample opportunity for students to experience it through practical performance which causes the learning interesting and less tedious drama. To that end, the research was conducted to determine the effectiveness of the Drama Learning Model of Acting Training Technique PAKEM Model of learning in Staging of Interest Seen Practicing Drama.

B.     Problem Formulation
The problem in this study can be formulated as follows.
1.         Is there a difference between the ability to play the lead character in staging a drama class XI student of SMAN 1 Gamping, Sleman, Yogyakarta is taught using the learning model of drama with the PAKEM Model of learning drama component to act training techniques than students taught using conventional technique?
2.         Is there a difference between the ability to play the lead character in staging a drama class XI student of SMAN 1 Gamping, Sleman, Yogyakarta who have interest in practicing high drama with low interest in drama training?
3.         Is there any interaction between the learning model of drama with the PAKEM Model of learning drama component acting training techniques and training interests of the ability of playing the character drama in staging drama class XI student of SMAN 1 Gamping, Sleman, Yogyakarta

C.    Theory
To act means to do, so you must always have something speciffc to do onstage or you will immediately stop acting. This is why physical action is so very important for the actor. Simply deffned, an action is the physical pursuance of a speciffc goal (Mammet, D, dan William H. Macy, 2011: 13).
“Plot reveals events to us, not only in their temporal, but also in their causal relationships. Plot makes us aware of events not merely as elements in a temporal series but also as an intricate pattern of cause and effects (Kenney 1996 : 14).”
Every dramatist has at his fingertips a relatively large galaxy of differing devices of characterization. Some of the devices are the appearance of the character, asides and soliloquies, dialogue between characters, hidden narration, language, and character in action (Reaske, 1966: 46-48).
Acting is the life of the human soul receiving ‘its birth through art. In a creative theatre the object for an actor’s concentration is the human soul. In the first period of his work the searching, the object for concentration is his own soul surround. Second period, the constructive one only his own soul. Know how to concentrate on something materially imperceptible, on something perceive only by penetrating deeply into entity, recognizing be evidenced in a moment of the greatest emotion and most violent struggle and need a spiritual concentration on emotions which do not exist, but are invented or imaged (Boleslavsky, 2005: 8).
Unger, from the book Theory of Literature author by Wellek, Rene (1976: 115) classifies the characters in literature as the problem of fate, by which he means the relation of freedom and necessity, spirit and nature; the religious problem, the attitude towards sin and salvation; the problem of nature, which would include such questions as the feeling for nature, but also questions of myth and magic; the problem of man, which concerns questions of the concept of man, but also of man’s relation to death, man’s concept of love; and finally there is a group of problems of society, family, and state.
Jack C. Richard in Elly S., Abdul B., Dyah P. (2008: 43) saysin speaking a foreign language the learner is saying words to express certain meanings.  In speaking, students say the words to express a particular purpose. It would be irrational and unnatural to expect the EFL learner to produce full, grammatically correct sentences when speaking (Brown, Yule in Maia JAM., 2011).
The curriculum Learning of theater that was adopted from the Shakespeare (2011: 27) as high school theatre courses provide students with the knowledge and skills necessary to continue studies at the college level, pursue theatre as an avocation, and/or become educated audience members. High school theatre curricula focus on:
·         Enhancing perception, interpretation, and performance
·         Understanding heritage and tradition
·         Understanding influences of theatre, film, television, and technology
·         Reflecting and evaluating personal work and the work of others.”
Hymes's view (in Coulthard, 1985: 31), or Attachment subject form of the message associated with a particular setting in the communication activities were on the level of four-dimensional description interrelated speech.
1.      The linguistic resources available to a speaker—how many different styles he can choose from
2.      Supra-sentential structuring—how many different structured linguistic events, like trials, relious ceremonies, debates, songs, are recognised;
3.      The rules of onterpreatation by which a given set of linguistic items comes to have a given communicative value;
4.      The norms which govern different types of interaction.
PAKEM Model of learning drama that idealized the teacher must create an atmosphere of learning so that students actively ask questions, express ideas, creative, critical and attention / concentration is fully in learning. The teacher creates an atmosphere of learning that can lead to comfort for students to learn. In the PAKEM Model of learning drama, Teachers utilize a variety of learning resources for the achievement of predetermined learning outcomes.
Boleslavsky (in Pradana Rizki, 2009) convey a few things in a creative theater. Target is the actor who plays the human spirit on stage is to give shape to the character and emotions of actors, both in behavior or speech. In character there are three sections to be visible, that is the nature of the body, emotional character, and character of the mind.
Interest in drama training can be given the tendency of individuals to pay attention to understanding, enjoying, and be familiar with and actively associated with the process of rehearsals. Interest is one of a very strong motivating factor in a person to act and improve the success of its activities.
Interest is influenced by the encouragement to pursue advanced training in drama, students will follow the training in playing the character drama with acting training technique, students' attention towards any activities related to the training playing the character in the drama drama with acting training technique, goal or orientation training playing the character in drama drama with keaktoran training technique.

D.    Research Methods
The research was conducted in SMA Negeri 1 Gamping, Sleman, D.I Yogyakarta. The method used is an experiment with 2 x 2 factorial design. The study population was students SMA 1 Gamping, Sleman, IN Yogyakarta academic year 2011/2012 while the sample taken as many as 32 students a class XI student. Samples were taken by purposive random sampling technique. Data collection techniques portrayed in the performance capability to use the test played a character drama, and drama practice to use the data of interest questionnaire. Analysis of data analysis techniques using Varian Two Pathway.

E.     Research Results
The first hypothesis Fh (k) = 531.44> 4, 20 = Ft H0 rejected and H1 accepted if Fh> Ft on a real level of 0.05 with 1 df numerator and denominator df 28 then there are significant differences between groups. The second hypothesis Fh (b) = 132.93> 4, 20 = Ft (H0 rejected and H1 accepted if Fh> 0.05 ft on a real stage with a numerator df and denominator df 28 then there are significant differences between groups. Third hypothesis Fh (I) = 26.71> 4, 20 = Ft (H0 rejected and H1 accepted if Fh> Ft on a real level of 0.05 with 1 df numerator and denominator df 28 then there are significant differences between groups.
As such, the results showed that (1) PAKEM model training techniques are used more effectively than the conventional drama of learning, namely (Fh (k) = 531.44> 4, 20 = Ft), (2) ability to play the lead character in staging drama students who have an interest in the practice of high drama that is more effective than a low-interest drama practice (Fh (b) = 132.93> 4, 20 = Ft), and (3) there is interaction between technical training and interests PAKEM model practice plays in affecting the ability of playing the character in the performance drama on students (Fh (I) = 26.71> 4, 20 = Ft).
The results of testing the first hypothesis (A-1: B-1) to test Tuckey, QH = 37.88 obtained value and the value of Qt = 3.45 for the real level of a = 0.05 with N = 32 and degrees of freedom = 4, can otherwise there are differences in the ability of playing the character in the performance drama on students who were taught using training techniques keaktoran AJEL with conventional drama learning. The first hypothesis test results (B-1: B-2) to test Tuckey, QH = 12.5 obtained value and the value of Qt = 3.45 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, there differences in the ability of playing the character in the performance drama on students who have an interest in practicing the high drama and low-interest drama practice.
The results of testing the first hypothesis (A-1 B-1: A-1 B-2) to test Tuckey, QH = 23.33 obtained value and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, it can be stated that there are differences in the ability of playing the character in the performance drama on students who were taught using training techniques keaktoran AJEL for students who have an high interest in practicing the drama and low-interest drama practice. The results of testing the first hypothesis (A-1 B-1: A-2 B-1) to test Tuckey, QH = 34.16 obtained value and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, there are differences in the ability of playing the character in the performance drama on students who were taught using the learning model of drama with the PAKEM model acting training techniques that have an high interest in practicing drama with students who are taught with the conventional drama of learning for students who have an high interest in practicing drama. The results of testing the first hypothesis (A1B1: a2b2) to Tuckey test, obtained the value QH = 43.04 and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, it can be stated that there is a difference ability to portray a character in staging drama on students who were taught using drama learning model with acting training techniques of PAKEM model for students who have an high interest in practicing drama better results than students taught by conventional teaching drama with a low interest in drama practice. The results of testing the first hypothesis (A1B2: A2B1) to Tuckey test, obtained the value QH = 10.82 and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, there are differences in the ability of playing the character in the performance drama on students who were taught using the learning model of drama with the acting training techniques of PAKEM model for students who have an interest in practicing a low-drama better results than students taught by conventional teaching drama to high interest in drama practice. The results of testing the first hypothesis (A1B2: a2b2) to Tuckey test, obtained the value QH = 19.71 and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, there are differences in the ability of playing the character in the performance drama on students who were taught using drama learning model with acting training techniques of PAKEM model and learning conventional drama with a low interest in drama practice. The results of testing the first hypothesis (A2B1: a2b2) to Tuckey test, obtained the value QH = 8.89 and the value of Qt = 4.05 for the real level of a = 0.05 with N = 16 and degrees of freedom = 4, there are differences in the ability of playing the character in the performance drama on students who were taught using conventional teaching drama, good students who have an high and low interest in practicing drama.

F.     Conclusion
Based on the analysis and discussion of the research results can be summarized as follows.
1.      There is a difference between the ability to play the lead character in the performance drama on students who were taught using acting training techniques of PAKEM model and learning of students taught by conventional drama (Fh (k) = 531.44> 4, 20 = Ft). Acting training techniques of PAKEM model used are more effective than conventional teaching drama.
2.      There is a difference between the ability to play the lead character in the performance drama on students who have an high interest in practicing the drama and low-interest drama practice Fh (b) = 132.93> 4, 20 = Ft. Ability in the performance drama portrayed on students who have an high interest in practicing drama is more effective than a low-interest drama practice.
3.      There is interaction between the acting training techniques of PAKEM model and an interest in influencing the ability to practice drama portrayed in the performance drama on students (Fh (I) = 26.71> 4, 20 = Ft). The influence of interactions between models of learning and interest in student's ability to practice the character in a drama performance on student learning model suggests that the use of drama (Acting training techniques of PAKEM model and conventional learning) with an interest in practicing drama students have their own influence on ability to played characters in the drama performances.

REFERENCES

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Kenney, William. 1966. How To Analyze Fiction. Manhattan : Monarch Press.
Mamet, David and William H. Macy. 2011. Practical Aesthetics An Acting Methodology.http://www.lacanadaplayhouse.org/mamet%20and%20macy.PDF. diunduh pada Oktober 2010.
Maia, José Antonio Moscoso. 2011. Jurnal. Facing and Analyzing Letras Pre-Intermediate University English Teacher Trainees Speaking Difficulties. http://www.fama.br/ revista/letras/images/ stories/artigos/ artigo%20moscoso % 20revisado%20-%20english%201.pdf. Diunduh pada 28 Juli 2011.
Reaske, Christopher Russell. 1966. Analyze Drama. United States of America: Monarch Press.
Rizki Pradana 2009. Akting: Mendalami diri sendiri http://gurudrama. wordpress.com/2009/08/06/akting-mendalami-diri-sendiri/
Shakespeare. 2011. Theatre Curriculum Framework. Center For Educator Development In Fine Arts (CEDFA) http://www.cedxfa.org
Wellek, Rene & Austin Warren. 1976. Theory of Literature. New York: Harcourt Brace and Word Inc.


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