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
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 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
Boleslavsky,
Richard. 2005. Acting: The First Six
Lessons. New York: Routledge (Taylor
and Francais)
Coulthard,
Molcolm. 1985. An Introduction to
Discourse Analysis. England: Longman House
Elly S., Abdul
B., Dyah P. 2008. “Peningkatan Kemampuan Berbicara Bahasa Inggris dengan
Menggunakan Media Gambar pada Siswa Kelas VIII di SMP Negeri 277 Jakarta”. Jurnal Lingkar Mutu Pendidikan. Volume I
No.1 (Hal. 41-48).
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.
