Fotografer Murah Jogja

pengen foto-foto tapi nggak punya kamera?
ingin difoto di studio, tapi

sampai juni 2012

Tangisan Tambatan Jembatan

Lesap purnama terhapus mega berarak, hanya bayang semu

Igau melaju menjelma desau peluru, tembus segala penjuru

Yang mana lagi akan kau lukai. Tak ada sisa hati dapat tersakiti

Untuk dikenangkan runtuhan cerita lara sepanjang jalan, koyak moyak

Nanar senyuman gadis di pertigaan. Lanskap keindahan tinggal sejarah

Ibarat prasasti yang teguh berdikari di balik pagar berduri sepi prosesi

Risak gerimis dan kilat melilit langit, jamah resah-belah gundah

Utopis melukis senja yang mewarna merah, asmara berdarah

Sejak sebaris bias sajak tak menjadi berarti. Diterbangkan badai

Lenyap terbawa deras arus sampai karam, mati setangkai puisi

Ini kali tak ada muara, tiada tepi, tanpa melankoli romantisasi

Gajahwong, 02-2012

Menampar Angin

: Li Yuni R.

Wanita tak berhati, setubuh tiada degub jantung

Hanya gumpalan darah tanpa sekat dan ruang

Untuk kusinggah ketika raga telah goyah

Sebab resah menjajah ke segala celah

Wanita tak berhati melari hari-hari

Melesat meninggalkan derita tersakiti

Sejak jejak sajak terhapus tamparan angin

Tak ada lagi cerita pijak kaki di sepanjang jalan

Wanita tak berhati menuai badai hilang tuju

Dikirim kemari lewat tarian serumpun bambu

Meliuk di lekang cuaca, hadang di padang perang

Sedang aku menjemur murung terpasung mendung

Papringan, Maret 2012

Maaf, Masih Ada . . .

: LYR.

Pisau membelah jengah

Keris mengiris-iris risau

Sembilu menyayat nyata pilu

Pedang menantang padang radang

Peluru menembus ruas rusuk, hati terburai

Senjata apa lagi bisa membunuh penuh harap

Sebab perisai sebentuk hati takkan tertandingi

Aku menanti jawab di balik pintu yang pilu, menantang

Ruang bertelanjang remang semakin mengangkang

Dinding mencumbu cicak, mencakar seisi kamar

Berolok dalam ratap sebisanya, binasa tersia-sia

Lalu sekawanan anjing memakan bangkai puisi

Dan sisanya dikuburkan dalam -

Dalam . . .

Papringan, Maret 2012

puisi cinta tanpa tanda baca

LYR

ada jarak yang menjejak

sampai kutub dalam hati kita

betapa bias batas nyata dan maya

sampai segala terlepas dari masa bersama

dan sesat di pekuburan masih saja percuma

sampai yang baru terbujur layu tak seirama

lalu catatan lama serupa kata pertama

sampai terlupa ruparupa tanda baca

sampai berkesudahan di mana akhir kisah

ada antara yang semestinya bisa diterabas

sampai benarbenar tandas perahu kertas

lalu namanama yang tertulis tak lagi dieja

sampai frasa demi frasa serasa serangkai puisi

cinta yang baik dan benar tanpa tanda baca

maret 2012

Naik Komidi Putar

(malam sehati – tiada hati)

Kita ada di sana sama-sama sadar di lingkar tangan

Dada berdetak seirama langkah jejalan kita

Untuk sesekali mengikut kota yg tergesa

Oleh mereka yang menjual tulang untuk ditukarkan

Selaksa rombengan tawa dan tawar bahkan raungan

Barangkali masih menyisa cerita untuk bisa dibagi,

Ada peramal malam menjaja cita dan cinta di hamparan

Lenyap dalam sekumpul bual, aku mual oleh putaran

Komidi putar membayang rona seterang tengah bulan

Beriring mewarna lelangit berdebu dengan sorak-sorai

Cahaya maya di jeruji jiwa jumawa, sewaktu

Kita baru saja menghibur diri

Naik komidi. Malam Sekati, sehati kita

Mengamati si bocah tampak atas

Dengan gula-gula dan balon di timangan

Tak ada tangis, hanya tawa riang

Dalam lingkar bayang. Kita beranjak

Ada romansa kolong waktu sedang kasmaran

Saling pandang, kita duduk berhadapan;

“Memusingkan; walau pusing memikir kamu lagi apa

Ngapain aja. Tapi, senang, cinta, dan suka di dekatmu”

--

Dinding ini mencipta jeruji, di komidi tak jenaka kini

Matanya basah, raganya lungkrah, darahnya mengalah

Pada kungkungan cahaya beda warna, berputar ke bawah

Paling dasar, mengusirnya keluar dari lingkaran tanpa sisa

Tanpa hati                  

Tanpa caci                  

Tanpa . . .

Yogyakarta, 2012

Kamis Sore

:Li Y.R.

Kelana senja perjalanan paripurna

Kita langkahi dengan sebait hati dan hati

Kendara rasa menua dipasung sungsang

Dan lelaki yang sama tinggal sebatang

Sedang perempuan matahari dikangkang

Tertinggal masa tak pernah berganti warna

Putih helai kertas tanpa sebaris puisi

Semua padamu jua akan akhir cerita

Tentang segala rasa yang sara

Sengsara menanggung sengketa

Ketika kata membabi-buta menjelma luka

Ah, tentu jalan ini tak bisa dieja tanpa rambu

Luasnya hati, sedang meratap tepian curam

Rumpun bambu tumbuh di batu-batu

Horison yang selalu keemasan

Tak mungkin aku sendiri ke seberang

Karena kupaham harap, kasihku

Telah terbang layang kembali ke sarang

Aku dan kendaraku hanya bisa terpaku

Menyaksikan ia menghadang laju gaharu

Baiklah, kita turuti jejalan ini

Tapi, kau hendak henti, berbalik arah

Lalu kau lempar aku ke kedalaman

Tanpa sela, tanpa cela

Di senja ini sukmaku berlalu, lara

Dan malamnya tersisih ke tepian jalan

Dan sukmaku turut terbang sebagai

Beribu kelelawar, hitam merajam dendam

sedang di sana ia memangsa sepi

Sepi yang baru, sangat baru

Cepitbaru, 7 Juni 2012

Rudatin

:Li Y.R.

Pegang erat ruas jemari

Akan kusimak sajak kota tua

Melodi patah hati menyesakkan setiap rongga dada

Hilang kenyamanan seisi kota di ujung fatamorgana

Lepas segala cengkeram yang mengekang, bagimu

Hanya jiwa yang pasrah pada sebaris serapah

Jatuh merengkuh tanah, hujan senja tadi

Ia menyerah kalah, sumarah pada sejarah

Jejalan meraung garang, gedung menantang gaung

Engkau riang di luar ruang, sedang aku meradang

Solo, Juni 2012

Penguji

:Li Y.R.

setiap lembaran yang akan diujikan

esok pun seakan menjadi tissue, basah

oleh tangis dan tetesan air mata

terima kasih telah menguji sebelumnya

ujian yang sebenarnya

Karangmalang, 130612

MATAHARI

: Li Yuni Rusli

Sesak menjejak setumpuk sajak

Hancur berkeping, di hamparan berserak

Dipanggang matahari yang sangsi, membakar semak

Bunga layu dihempas seteru saat beranjak semerbak

Sisanya diterbangkan angin kemarau, baru saja sebabak

Akan lama, tak seperti kisah lalu. Sesuatu yang baru

Jika saja matahari tak seterik ini, akan aku tunggu

Ketika awan putih menari pada angkasa membiru

Itu hatiku yang merindu menunggu di balik pintu

Untuk sejumput senyuman dan bujuk rayu

Aku harap rerintik menghapus derita daun jendela

Dan embun di dedaunan dihempas panas segala

Meski sangat pagi kala itu. Di ufuk masih juga jingga

Kau tahu, tetesan embun itu adalah sisa air mata

Kutumpahkan di bumi pertiwi, tumpah darah kita

(hari kemarin atau esok sama saja hari ini

duka dan suka menjadi seirama lagu,

matahari di luar, matahari dalam hati

menyatu dalam kepiluan sukmaku)

Papringan, Juni 2012

puisi lanjutan

 Kubangan

: Cuy Li Y.

Perempuan seberang datang menantang

Di pertemuan singkat berteman hujan

Pada bangku-bangku kosong saat petang

Di setiap gugusan waktu memburu tak segan

Adalah tentang usia yang terlupa jelang remang

Adalah tentang masa yang terluka oleh kepingan

Adalah tentang sejarah yang terkubur dalam lengang

Adalah tentang rentang yang terbentang di bayang bulan

Kita beda dimensi, beralih dari gugusan bintang

Aku sambang bimbang, rinduku jatuh di jalanan

Kembara rasa kembali rasaiku, sedu-sedan sebayang

Aku menanti kepulangan, menemu hujan kemalaman

Ia datang beriring, halang radang berpasang

Sedang aku hanya diam meneguk sisa air hujan

Yang jatuh di kubangan. Tanpa sapa fatamorgana

Karangmalang, 2010

Perempuan Batu

: Li

Pagiku pergi ke timur matahari. Kami datang berpasang

Gelantung dalam ruang berjalan, sanjung tak bimbang

Hilang radang yang garang di sela selangkang karang

Sebagai gemuruh ombak yang telah lalu dihempas pasang

Saling pandang, pesonanya meretakkan mata memandang

Batas negeri ini tak sebatas hati yang sedang berpuisi

Pada keras susunan berbatu, pahatan hati ajak berbagi

Panas yang ganas. Semesta kau murkai

Terik meneriak jejak sajak di pelataran candi

Siang jalang di atas matahari

Wanita terbakar angkara. Ornamen menyala

Jamah gelisah, peluk luka sebagaimana duka

Matahari, langit biru, sedikit awan belingsatan

Resah dan amarah menjajah: kepanasan

Usapan itu sebagai ucapan tak terkatakan

Gema di berserak batuan, seperti hatimu

Laki dan wanita menapak titian tangga tak jemu

Menuju rumah goyah, untuk dikenang hari terlalu

Prambanan, 12032011

Tembak di Tempat

: Li Yuni Rusli

Baru saja kututup senja kepulangan

Sedang gadis seberang membuka daun jendela

Mencipta bayang terang bertaburan bintang

Terlindung mendung, kabut sambut singkat pesan

Kuajakkan ia saat malam tenggelam

Gerimis jatuh di utara jalan

Kupintakan ia setelah niaga, menawar hati

(Tidak tahu, takkan perna tahu)

Cuaca celaka ini mencelakai baris puisi

Petir menyambar. Badai hempas pasang

Katakata porakporanda, tak tahu berbuat apa

Atap meratap menatap tangisan air hujan

Sedang aku terdiam di sudut ruang perhitungan

Di retakan dinding penjagaan, menjaga hati

Untuk tak semestinya mati

(Ia pun ketakutan, berharap pergi)

Masih ada beribu aksara serupa anak panah

Untuk bisa menghunjam wajah kasih

Kekebalan hatimu, kasihku

Minomartani, 27 Maret 2011

Giwangan Wuyung

Hamparan kehijauan di pinggiran kota

Sawah berkasih. Serangga saling senggama

Rumpun padi digilas pondasi dan polusi

Awan di atasnya. Hinggap di pematang

Memayung wuyung sebayang-bayang

Dan sejoli di antaranya

Bercerita tanpa tapi, hanya karena

Di sini tempat kami berbagi

Semula memagut mimpi lain lagi

:           Sebelum kita pesankan

Di jauh kota. Kita panen saja

Rasa yang ini

April, 2011

Wanita di Tepian Senja    : C 4 Y Li Y.

Wanita senja diterpa angin musim dengan aroma laut

Pada sesenja yang menenggelamkan matahari di balik bukit Samudra ini tak berpulau. Ada benua menua seberang sana

Ia tegak menantang langit biru. Antara deras ombak

Dan terjal karang. Rambutnya terurai seadanya

Dan angin menarikannya sebagai api

Asmara yang takkan reda

Wanita di tepian senja

Aku adalah bukit karang menjulang saat petang

Aku adalah karang pantai yang mencinta lautan lepas

Dari gugusan karang dan ombak bersajak tentang kasihku

Tapi  sayang. Ombak pecah sebelum sempat menjabat pantai

Ia hantam karang jadi secercah buih, bercahaya rona wajahmu

Riuh di pebarisan angan dan puisi berpasang ini

Musnah sudah mimpiku yang belum lagi selesai

Wanita memaling pandang pada laut lepas

Diiring ombak menggelepar di tepian pantai

Lalu berlari, menampik lirik sajak. Melari puisi

Runtuhkan keangkuhan cakrawala di hadapan

Jangan kau lepaskan amarah pada cuaca bercinta

Tahan terjang ombak yang tak pernah reda

Wanita dengan aroma matahari

Hantam aku di pantai ceria sebelum kau datangkan prahara

Lalu kau hantam bukit karang. Ombak datang bergelombang

Impian lebur terbawa air laut menjadi butiran pasir basah

Yang kau jumpai berabad kemudian sebagai kenangan

Sebagai sejarah dari lipatan bukit yang patah

Aku tahu:    Laut takkan pernah membawamu     

Padaku.

Baron-Kukup, Gunungkidul, 13 April 2011

Malam Lampion

LYRAW

Angin malam yang terlalu pilu menghantar kelu

Dari reronce perjalan malam untuk pejalan jalang

Berlalu dalam keraguan yang terlalu berliku

Dari jauh menatap stupa yang tak bisa kita tapaki

Berpasang lampion menjulang menembus petang

Berkedip cahaya di dalamnya ikut terbang mengawang

Sebagai lambaian selamat jalan di lintasan bintang

Kukerakkan duka tumpukan batu dalam sajak kami

Kehampaan berserikat bersama penat berlipat

Mengharap sekerlip cahaya sebagai isyarat hati

Lampion yang ramai yang damai

Tanpa prosesi. Berlalu tanpa kata

Kemudian daratan sepi, kita terpinggir di pagar

Gadis manis temaram di tepian perjalanan

Jangan pula kau terbangkan kerinduan

Jangan kau melepas harapan bulan

Masa yang tak pasti di kerlip gemintang

Dalam puisi yang tak kunjung gemilang

Dalam setiap api yang terbakar bersama rindu

Menjadi cinta satu dan setia tiada damba menyatu

Di pelataran ini kita berbagi ceria dan cerita

Sebuah tanda dan kata-kata, terbang jiwa raga

Malam cahaya lampion

Membakar setiap detak, segala hilang terbang

Jangan kau terbangkan angan kasmaran

-Ku

Borobudur, 17 Mei 2011

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.

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