by E Nurhasanah · 2021 — Socio-Economic Study: Middle Class Society Portraits in Drama “Sayang. Ada Orang Lain” By Utuy Tatang Sontani. Een Nurhasanah, Uah Maspuroh,
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Multicultural Education Volume 7 , Issue 2 , 2021 _______________________________________________________________________________________ 189 Socio – Een Nurhasanah, Uah Maspuroh , Nia Puj iawati, Mohd Norazmi bin Nordin Article Info Abstract Article History Received: December 1 9 , 2020 appropriate plot. The disputes that emerge in the script characterize the pleasant flow, and the author wants to dra w attention to the common life problems that exist in the group. The aim of this study is to 1) define the – class society in Utuy Sontani William Ball is the theory used in studying the intrinsic component. The sociological literary approach with an emphasis on socio – economic studies was used to characterize the portrait of the middle class society in Utuy – economic theory used is the theory put forth by Syani. The thesis was carried out using qualitative research using the framework of descriptive analysis.The re sults of this study can be inferred that in the dramatic text – class society is portrayed as a dispute of economic deprivation that is in line with the life of society today. Low salarie s and the everyday needs of increasingly costly and challenging work are creating economic difficulties at this time. Accepted: February 10 , 202 1 Keywords : Drama Text, Dramatic Structure, Socio – economic DOI: 1 0.5281/zenodo.4630797 Introduction Literary practice is an inseparable part of the lives of individuals. A literary work includes the truth of social life that can be observed, thought, and perceived, as well as the author’s imagination. Literary works may provide advantages for understandi ng the life of people, which with numerous new perspectives is so broad. A individual may increase his knowledge of vocabulary in a language, about the life pattern of a society, through literary works. [1]. Fiction and nonfiction are the two categories of literary works. Fictional literary works include verse, drama, and prose fiction. Meanwhile, biographies, autobiographies, essays and literary criticism are found in non – fiction literary works. Drama is a stage imitation of human action as a type of ficti onal literary work. [2] . Before the audience sees the drama, the script is the most critical element. The drama script includes tales that the audience would later show on stage and observe. The word drama comes from the Greek word draw which means t o do The drama is a product of a life of our own. Drama is not only a representation or reflection of the world, but it also assists us in dealing with the problem, creating it properly with creativity and comprehension of life itself. [3]. Apart from be ing performed, drama scripts can be used as objects of literary study. Two elements, namely intrinsic and extrinsic elements, can be studied in drama texts. In the form of theme, story, character, performance and language, the intrinsic elements are The ex trinsic elements of drama, meanwhile, are the components that make up the drama beyond the literary work’s framework. A sociological literary approach can be used to examine the components of drama. To define, recognize, and analyze literature, the sociolo gy of literature approach may be used. Drama can be analyzed based on aspects relevant to social realities using a sociology of literature approach. The sociology of literature approach is inspired by the idea that literary works are inextricably related t o the social realities that exist in society. The literature sociology approach offers a description of the material in a drama script focused on common life in society. [4] . The aim of this research is to look at drama scripts through the prism of socioec onomic studies. There are two ways to describe economic sociology: 1) Economic sociology is characterized as the study of the relationship between society and the social and economic interactions that take place within it. The way society affects the econo my can be seen in this connection; 2) A sociological approach to economic phenomena is known as economic sociology. There are two points to be clarified from this description, namely the
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190 sociological approach and economic phenomena. [5]. The sociological ap proach is used in sociology to explain the principles, factors, hypotheses and methods of social reality, including the complexity of economic – related activities such as production, consumption and distribution, and others. Damsar also states that economic phenomena are a result of how individuals or societies fulfill their primary expenses for services and rare goods. All the activities of individuals and society related to the production, distribution and consumption of scarce goods and services are the m eans in question. Economic phenomena are evolving alongside changes in society’s technology, knowledge, economy and social culture. [6]. The drama text that is the focus of this research is Utuy Tatang Sontani’s Sayang Ada Orang Lain The script of Utuy Tatang Sontani s drama Sayang Ada Orang Lain explains how a husband and wife struggle to fulfill their primary expenses due to financial constraints. The conflict in Utuy Tatang Sontani s drama Sayang Ada Orang Lain brings readers t o feel the pressure of the characters problems. Furthermore, the conflict portrayed in Utuy Sontani s drama Sayang Ada Orang Lain is contained in the realities of social life.The drama text Sayang Ada Orang Lain by Utuy Tatang Sontani is important to review because it contains many principles and benefits that readers may gain from. Researchers are interested in deciphering the drama text and converting it into a thesis to be studied using a sociological literary methodology with an emphasis on socio – e conomic studies due to disputes that are similar to social problems. According to Wellek and Warren [7], a narrative must be an interesting tale with a coherent structure and an artistic intent, no matter how rich in experiences and problems life has to of fer. Readers will indirectly read, feel, and appreciate the different problems of life offered by the author through stories. Abrams [8], In literary review, there are four types of approaches. These approaches are: (1) an analytical approach, which is an a pproach that sees literary works as an independent structure; (2) the descriptive (expressive) approach, which is an approach that sees the author as a literary creator; (3) the mimetic approach, which is an approach that looks at the real world’s referent ial aspects or aspects of socio – cultural reality; (4) The pragmatics approach (pragmatics) considers the different positions of readers as providing context. Structural analysis is intended to simplify further analysis. The goal of the structural approach is to operate, research, reveal functions as carefully as possible and create a wholeness between elements of literary works. It is not enough to simply collect data for certain elements by using a structural approach; it is also important to show the inte rrelationships between these elements and what donations are given against aesthetic goals and meaning the whole to be accomplished [9] , 1) to describe the intrinsic elements of the drama text ‘Sayang Ada Orang Lain’ by Utuy Tatang Sontani, 2) to describe the portrait of middle class society in the drama text ‘Sayang Ada Orang Lain’ by Utuy Sontani, the formulation of problems in this study. The hypothesis put forward by William Ball is used in researching the intrinsic elements. According to Ball, the elem ents that dominate in drama text writing are themes, storylines, characters, performances, and language. [10] . Meanwhile, in the drama script Sayang Ada Orang Lain by Utuy Sontani, the author uses a sociological literary approach with an emphasis on soc io – economic studies to explain the portrait of middle class society. The socio – economic theory proposed by Syani [5] as a guide in this review is a sociological study of economics that explores the relationship between societies in which social and economi c interactions occur, how society affects the economy, and how the economy affects society. Method A qualitative method of analysis was used to perform this study. The descriptive research approach was used in this report. The meaning of values is preserved through descriptive analysis methods. In social science, culture is the data source, and study data is actions; in literature, works, books, words, sentences, and discourse are the data sources. [11]. Utuy Sontani s dramatic text Sayang Ada Orang Lain is the data source used in this study. In this analysis, the use of analytical descriptive research method starts by describing the intrinsic elements of Utuy Sontani s Sayang Ada Orang Lain drama text, and then describes the middle class por trait in Utuy Sontani s Sayang Ada Orang Lain drama text. Results and Discussion 3.1 Utuy Tatang Sontani s Drama Text Intrinsic Elements Review Sayang Ada Orang Lain The study of intrinsic elements in drama text, such as themes, characters, plot, vocabulary, and performance elements. Theme The economic crisis is the central theme of Utuy Tatang Sontani s drama text Sayang Ada Orang Lain In the script Sayang Ada Orang Lain the theme portrays the entire plot. In her household, Suminta, who has a wife named Mini, has problems, namely, economic difficulties. In price, everyday necessities are rising. Suminta’s money as a laborer, however, was not adequate for her daily life. The work of Suminta, who has a small income, can not fulfill the needs o f her household. In the end, Suminta borrows money, pawns goods or sells things in her house to cover this need. As demonstrated by the following dialogue:
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191 SUMINTA : Bagaimana takan lesu kalu gaji tdak cukup (SUARANYA MENGELUH) coba pikir, gaji buruhs ekarang sudah lagi tidak seimbang dengan harga – harga kebutuhan dengan yang kuterima sekarang sesungguhnya kami hanya bisa hidup untuk sepuluh hari saja, dan yang dua puluh hari lagi mesti ditutup dengan meminjam, menghutang, menggadaikan, kalau perlu menju al barang yang sudah ada dan keadaan ini sudah berbulan – bulan, kian lama hutang itu bukan semakin sedikit.Aku takut akhir – akhirnya aku bekerja bukan buat istriku lagi, tapi semata – mata untuk mereka yang menghutangkan. [18]. The dialog above shows Suminta s interaction with Hamid, her colleague. Suminta claims that her family’s financial problems have become a burden. The need for food, lodging, kitchens and others is growing increasingly. Meanwhile, the paycheck they get is only enough for ten days, and Su minta and Mini have to be smart for the rest of the next day to find neighbors who want to lend her cash. We can see, from this Suminta statistic, that the economic crisis is becoming a serious issue. If daily life cannot be met, the way to choose is to bo rrow. Borrowing does not fix the problem; rather, it adds to the burden. The wage earned for the cost of daily living is not adequate. You will have to repay a loan that you used for day – to – day expenses. The challenges faced by Suminta s statistics are bec oming much heavier due to economic difficulties. The economic difficulties that occurred in Suminta’s household are mentioned in the dialog from Hamid s conversation above. His mom, Mini, sold herself out of this financial struggle to help pay for her ever yday life. Mini is not to blame for Suminta, according to Hamid, because she is pessimistic about not looking for another job. Hamid explained from the conversation how hard it is for Suminta and Mini s economic lives, which are absolutely robbed. Suminta has had a lot of problems as a result of the economic difficulties. Character Characterizations are frequently equated in importance with the characterization of cgaracter abd that refers to the location in a tale of certain characters. [12/16]. The charac ters found in the Sayang Ada Orang Lain drama script will be listed below. 1 ) S UMINTA Suminta, the protagonist character in the drama drama Sayang Ada Orang Lain, is the main character. Suminta is a young man with a well – built body and a sluggish face, wearing shabby clothes all the time. Suminta’s appearance in this image reflects her precarious financial condition. Where an individual in a low economy is Suminta. He is absent in order to fulfill his wife’s needs. Evidenced by the dialog following: HAMID : Minta!! Kau masih tidur dihari siang begini! (MUNCUL MINI ISTRINYA SUMINTA DENGAN BADAN DIBUNGKUS PAKAIAN BAGUS). Suminta ada? MINI : Ada,kak!kak!kak! ini ada Bung Hamid. (SUMINTA MUNCUL DENGAN KAOS DAN SARUNG) . [18]. Hamid’s words demon strate how Suminta is, who has tough problems, from the above dialog. Problems that have yet to find a bright spot in the otherwise grim economic situation. Financial circumstances that are not suitable for the needs of his wife. The shabby clothing of the Suminta figure exemplifies the economic shortage. Suminta faces a rising need, but as a worker, the pay is very low. The writer explains the appearance of Suminta so that the reader knows what the main character thinks. The slow face of Suminta stressed t hat her deprived economy was still very dizzy. Suminta is reluctant to try and gives up quickly on her current situation. Without doing something, he wanted silence. The character in this dialogue seems to be cynical and unable to try harder. Suminta live s by the principle that she will not work in a job that allows her to lie, such as corruption. He, on the other hand, is reluctant to pursue a new career in order to make ends meet. The stubbornness of Suminta made her domestic issues even more difficult. 2 ) M INI Characters in the drama script Sayang Ada Lain are known as mini characters. The antagonists of the character, Suminta, as the main character, are known as mini characters. Mini is a young woman with sweet black eyes, a charming look, and a contagious smile. Mini, unlike her husband, has a nice look, a happy smile, and wears nice clothes. Mini is hopeful that the financial problems that her family is facing will be overcome. Mini has a way out of financial poverty by selling herself and then having eas y cash to cover the needs of the family. Yet her husband would criticize what Mini had done. This Mini character has a friendly attitude but behaves rashly and takes decisions without thinking. Mini figures have a polite personality, which she always exhib its toward her husband Suminta, and she always says goodbye to him when she leaves. He is respectful to meet older people and when some people come to his home, Mini is sweet, even though these individuals come in frustration.
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192 personality, is Mini’s friend ly attitude toward her husband when leaving the house is apparent from the dialogue. Mini kissed her husband on the forehead and said farewell as though nothing had happened. Then Mini said goodbye in a polite manner to Hamid. Even if there is anything tha t Mini and Hamid cover for Suminta from the hospitality shown by Mini. Mini is also a hasty decision maker, particularly when it comes to figuring out how to get out of problems in her home. Mini sells herself to solve the problem of economic hardship, whi ch is a serious problem in her house. Even if what Mini has done is going to add to the current issues. 3) H. SALIM Haji Salim is a character who is always willing to support others and is kind, truthful, and firm. Haji Salim is an elderly man who dresses in a sarong and a hat on a regular basis. By informing Suminta that his wife is having an affair with someone else, Haji Salim shows good character. In all his words to Suminta, Haji Salim was frank about his wife having an affair. Haji Salim is a devout Muslim. Demonstrated by dialogue. H. SALIM : Ya, naik mobil tidak salah. Aku juga mau naik mobil. Tapi apa yang mau kau katakan, kalau di dalam mobil itu dia dicuimi laki – laki? Aku sampai gemetar melihatnya, Minta. Lihat! Tanganku masih gemetar (DAN IA MEMPERLIHATKAN TANGANNYA YANG GEMETAR). [18]. 4 ) H AMID This Mini character is a nice character, Mini is Hamid, Suminta’s friend, is the next character in the drama text Sayang Ada Orang Lain . Hamid is a tall, chubby man who always wears a nice suit. Unlike Suminta, who is totally impoverished, Hamid s dress style suggests that he is a well – off guy. Hamid is an adversary in which Hamid has a rude, arrogant attitude, does not want to accept the views of other people, and does not respect friends or parents. All can get an adequate life as long as they have an a ctive mind looking forward, according to Hamid, all will live a satisfactory life if they have a forward – thinking mind. Hamid and Suminta demonstrate in the conversation that Hamid is an arrogant and arrogant guy. Hamid’s remarks about being called a devil or God may suggest that he was a conceited person. Hamid still thought of himself as the one who was right. Hamid s character is unconcerned about his friends; despite the fact that Suminta is his best friend, Hamid pressures Suminta s wife to sell hersel f to a masher. His wife Mini did this, according to Hamid, because Suminta herself did not want to open up opportunities to reach ends. Hamid figures do not value elders; Hamid often uses a high tone when talking to Haji Salim. Haji Salim, he says, is actu ally an elderly man with traditional views and laws regarding other people’s lives. Hamid was still persuaded that he was right and did not always obey Haji Salim s orders. Hamid was considered a kufr and a tyrant by Haji Salim, so his wife Suminta sold he rself to someone else. Dialogue demonstrates: HAMID : Terlalu!sungguh terlalu Mang Haji ini. Soal tet – tek benget dibesar – besarkan Minta.. ( MINTA MUNCUL DARI KAMAR ) begini, inilah kelakuan mang haji. Maunya menghasut, terus menghasut. Sampai – sampai ia dibawa sama orang lain kesini. [18]. 5 ) T. MINYAK – Tukang Minyak ( The Oil Craftsman ) The Oil craftsman s figure is a character that is told in the script only once. The oilman is a middle – aged man dressed in a plain shirt and slacks. The oilman is very patient, even though his debt collection efforts do not bear fruit. And she returned empty – handed because Suminta lacked the funds to repay her debt to the oilman. Demonstrated by dialogue. SUMINTA : Oh, mau menagih uang minyak ya? istriku tidak ada.nanti saja dat ang lagi ya. T.MINYAK : (CUKUP DENGAN MENGHELA NAFAS LALU IA PERGI ). [18]. 6 ) S UM Sum is a female character who wears expensive jewelry and is well dressed. Sum has a beautiful disposition and a woman who likes to look luxurious. Sum is Mini’s mate. The jewelry she wore was evidence that Sum was a woman who was well off. In order to show how much money you have, amount figures show that physical appearance is important. The sum figures are the same as Hamid, who thinks wealth is very important, so it is v ery important to search for business opportunities. The dialogue above shows that Sum can earn a lot of money because her husband is willing to seek extra income. According to Sum, when her husband only relies on his salary, it will not meet his household needs. For this reason, her husband is looking for additional money from the gratuity because he has helped to take care of the employee recovery money. For Sum, whatever her husband does as long as he adds income for his daily needs is fine. 7 ) PERM. TUA – Per empuan Tua ( Old Woman ) The old woman is a character who appears only once in the script. For an oilman, though, it has different properties. This elderly lady has a plain look and holds her wares in a basket. There’s an irritable quality to old
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193 ladies. She was upset when she paid off her debt to Suminta’s estate, not having the money to pay her debt. Since the old woman has managed the forest many times but is still not charged. Illustrated by dialogue. PERM. TUA : Nyonya ada? SUMINTA : Tidak ada. PERM. TUA : Katanya mau bayar hari ini. Didatangi hari ini tidak ada. Bagaimana sih? Putar – putar terus. SUMINTA : Lantas mau apa ?gajiku memang tidak cukup! [18]. 8 ) LAKI2 BS – Laki – laki Bermata Srigala ( Wolf – eyed Man ) The wolf – eyed man has sharp eyes and is a young man. The wolf – eyed man is a male masher. At the invitation of Haji Salim, a wolf – eyed man character meets Suminta. His allegations against Mini were confirmed by the presence of this sharp – eyed male character. The Mini character does sell himself to the wolf – eyed man in this scene. The wolf – eyed male character yearns for liberty and despises it when his life is determined by others. He believes that getting a lot of money would help him to get what he desires. Proven by dialogue. LAKI2 BS : Kau kira p ergiku kesini lantaran memperdulikan omongan orang lain? Kau tahu aku tidak terikat pada apapun juga. HAMID : Tapi untuk apa? untuk apa kau datang kesini. LAKI2 BS : Pak tua ini bilang, aku mesti mengatakan apa yang terjadi tadi. Dan aku jawab baik. Bagaimana sekarang pak tua? teruskan? H. SALIM : Mana istrimu? SUMINTA : Tidak perlu, saya sendiri sudah cukup. [18]. The wolf – eyed man s conversation with Hamid and Haji Salim reveals that he prefers independence and dislikes law. This wolf – eye d man illustrates that he can do whatever he wants with the money he has without having to consider the laws of society. The wolf – eyed man likes to obey his words and doesn t want to take care of anyone. If he follows the words of others, everything he can get for free can just make himself non – free in life. C . Plot The exposition or introduction of the characters and circumstances in the plays, the appearance of difficulties or problems and challenges, and the resolution of problems [13]. The drama s plot is composed of a series of seasonings that relate to cause and effect, including an exposition (beginning), a complication series, a climax, and a resolution (end) [ 14 ]. The forward flow is reflected in the drama text Sayang Ada Orang Lain The previous pl ot is continued from one scene to the next. Every scene of the story is told in a logical order until the end. The story starts with a discussion at Suminta s house in the first stage, which is called the introduction stage. Hamid paid Suminta a visit to b orrow a badminton racket. Suminta and his wife Mini are currently facing financial difficulties. The first stage outlines Suminta s struggle to achieve her basic needs. Meanwhile, a day s pay as a laborer is inadequate to cover all of one s needs. Suminta started by saying that she was afraid of losing her job if it was revealed that she had lied. Dialogue illustrates this. SUMINTA : Kau kira aku pesimis gara – gara gajiku tidak cukup? Tidak! itu tidak benar lantaran gaji tidak cukup, aku mesti berusaha men ggunakan segala kesempatan,supaya kau bisa membangun rumah tangga yang kuat. Supaya sudah mempunyai rumah tangga yang kuat pikiran jadi sehat, tidak diganggu oleh kekurangan, lantas? memangnya aku harus korupsi untuk menutupi kekurangan sekarang? mesti mel akukan perbuatan curang? [18]. The dialogue from Suminta s conversation above paints an early image of Suminta not being pessimistic due to her low salary. However, he is reluctant to try for fear of earning money by cheating. Suminta aspires to have a stable family so that her mind can be balanced. Suminta is arguing whether she should use the benefits of corruption to cover her household expenses or look for jobs. Suminta comes across as someone who doesn’t want to try first because she knows that a hi gh – paying career is almost always the product of deceit, such as corruption. The character Suminta’s dispute is portrayed in the middle stage. Haji Salim rushed to Suminta’s home, which ignited the fight. Then, with shaking hands, Haji Salim explained the incident he had just witnessed. Mini, Suminta’s wife, was in the car of a man being kissed by the man, according to Haji Salim. Mini and Hamid were in the car, according to Haji Salim, with Hamid in front near the driver and Mini behind with the man who ki ssed him. Haji Salim told him at this point that what he saw was initially suspicious. As Haji Salim saw more clearly that it was actually Suminta s wife Mini, he persuaded Suminta that what he saw was Mini. The conversation reveals that the dispute is hea ting up, and Suminta is aware that his wife Mini is having an affair with another
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194 man behind her back. Suminta’s headaches are getting worse, his tough economic conditions aren t getting any better, and his wife is having an affair. Suminta does not trust Haji Salim’s conversation because of the previous conversation. Suminta needs to see proof that his wife is or is not cheating on him. When Mini returns home and behaves as if nothing happened, the Suminta character s conflict becomes tense once more. Mini was asked where he got the money to buy food and pay the oil man by Suminta. Mini clarified that the money he obtained was a loan from a friend. Dialogue reveals this. SUMINTA : (IA MELIRIK KEMBALI, IA KEMBALI MENUNDUKAN KEPALA LALU)Sebenarnya kau tadi da ri mana? MINI : Dari nyonya Kusman. Habis, dari mana lagi? SUMINTA : Kau lebih baik terus terang saja, dengan berterus terang orang bisa mengurangidosa. [18]. Suminta was enraged when Mini returned home; she kept recalling Haji Salim s story about his wife cheating on him. However, when Suminta inquired about the money she obtained from borrowing, she became even more enraged with Mini. Suminta is determined to get an honest response from Mini regardless of the circumstances. Mini, on the other hand, did no t say what had actually happened; instead, he continued to behave normally and did not respond to Suminta s question. The conflict became tense at this point, and Suminta couldn t control her feelings for Mini. Suminta continues to inquire about Mini s roo ts and whether Haji Salim s argument that Mini was with a man and Hamid is right. Mini, on the other hand, remained silent and did not respond to Suminta s question. Suminta becomes more emotional when she realizes Mini is quiet and tries to choke her. Unt il Hamid arrived at Suminta s home, when Hamid s arrival enraged Suminta even more. Hamid arrived at Suminta s home. Hamid says that his wife Mini did nothing wrong, but that Suminta punished her because she was blind. Despite the fact that Suminta is to blame for her household s failures, Mini helps to alleviate her husband s burden. Mini, according to Hamid, has an active mind that is not as narrow as her husband s. Mini did this in reaction to her husband’s failure to find a new position with a higher w age, and she did not want to stay quiet. Mini attempted to conduct business in order to assist her husband. The conflict has become even more volatile as a result of Hamid s words. Since Hamid s figure blamed Suminta, his wife did something that is forbidd en in religion due to financial difficulties. Suminta, according to Hamid, is the one to blame. When the wolf – eyed man arrived to meet Suminta, the dispute became tense once more. The wolf – eyed man went to Suminta’s house with Haji Salim, and Hamid went ba ck to Suminta s house. When Suminta discovers that the wolf – eyed man only wants Mini to fulfill her needs, she becomes emotional. The wolf – eyed lad has no intention of marrying Mini. Since he assumes that marrying Mini will be nothing more than a demand. S uminta became even more enraged after hearing all of the answers from the wolf – eyed man. The wolf – eyed man just wanted to take advantage of Mini, it turned out. Hearing Mini sacrificing herself to a wolf – eyed boy had not eased her discomfort. Suminta now h as to hear that the woman she loves isn t respected. Despite the fact that Mini is his mom, he adores her. Others, on the other hand, felt his wife was useless. Suminta plans to kill the wolf – eyed man unless Hamid intervenes. Suminta not only hurt her beca use of what she did to Mini, but the wolf – eyed boy also hurt her because he didn t love Mini. The final stage of Sayang Ada Orang Lain which is the dispute resolution stage. Suminta speaks with Mini, telling her how much she adores her. Their marriage, however, could not be sustained, according to Suminta. Past memories are good, but Mini’s incident with another man has turned into a sour memory, and Suminta and Mini s situation seems to be affected by circumstances. Suminta claims that walking forward is preferable to having to confront traumatic memories. Suminta s conversation suggests that she should end her relationship with Mini. Suminta has let go of what happened to her family as a result of these words. Instead of dwelling on the issues that hav e already arisen, it is preferable to start again. It would only hurt both of them if you concentrate exclusively on yesterday. According to Suminta, it’s likely that she was the one who neglected to cater for Mini’s needs. It’s better to give up on tomorr ow than to be devastated by the memories of the past; maybe Suminta will never forget what Mini did. Living with Mini is a wonderful experience for Suminta. Suminta adored Mini and she adored her as well. But as nothing can be fixed, Suminta can only hope that Mini will be satisfied with someone else who can satisfy all of Mini s needs in the future. Suminta did not abandon Mini on purpose; she genuinely wished to see her happy. Mini no longer belongs to him, and he no longer belongs to Mini. This is a disp ute resolution talk. Mini was eventually sick after Suminta left. There s nothing else for it but to abandon Mini. They don t want to get together because it would hurt their feelings. Suminta takes the love with her, despite her feelings that she still lo ves Mini. Not to mention, Suminta said her goodbyes to her beloved lover before leaving. The final stage of dispute resolution can be a very emotional experience. Suminta, who still loves his wife but can t bear the agony, is still missing. Suminta s chara cter prefers to leave and end her relationship with her
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196 character in the drama text. The actor is dressed to suit the old male character of Haji Salim, who has the body of an old man and often wears a cap for make – up duties. Dialogue describes this. TIBA – TIBA MASUK DENGAN TERGOPOH – GOPOH SEORANG LELAKI TUA BERBADAN KURUS. DAN DENGAN TERGOPOH – GOPOH PULA IA MEMANGGIL. H. SALIM : Minta! Minta! [18]. The object of lighting in a show is to illuminate the stage. When the characters are conversing, the lighting would be responsible for highlighting so that the audience s attention is drawn to the actors on stage. Light will assist in deciding the desired environment. As the dispute reaches its climax, as in the dra ma script Honey There is Someone Else, the lighting helps to highlight the actors on stage. The music device is used to turn on the sound in performances, such as when the Suminta and Hamid dispute becomes tense in the drama text Sayang Ada Orang Lain The music arrangement will give the listener the feeling that the dispute is much more pronounced. Suminta had left Mini at the time, despite the fact that she always loved her. Can play sad or calm music to make the viewer feel the sadness that the main character, Suminta, feels. 3 . 1 Description of Socio – economic Study: a Portrait of a Medium C ulture in the Drama Text Sayang Ada Orang Lain by Utuy Tatang Sontani At least two elements are found in the drama script. Specifically, social and aesthetic concepts . Social ideas are concepts that are linked to social concerns in which human actors clash. Aesthetic ideas, on the other hand, are ideas about aesthetic or attractiveness influences that are manifested by the ability to convey techniques (processing symbo ls, idioms, and so on) [17]. The following is a summary of the portrait of the middle class in Utuy Tatang Sontani’s drama script Sayang Ada Orang Lain A . Background of the Social and Economic Life of the Middle Society in Utuy Sontani s Drama Sayang Ada Orang Lain The script for Utuy Tatang Sontani s drama Sayang Ada Orang Lain portrays the lives of a husband and wife who are struggling financially. In the drama script, Suminta is the main character. Suminta works as a day laborer. Suminta s salary as a laborer is inadequate to meet all of the family s needs. The following dialogue highlights this. SUMINTA : Bagaimana takan lesu kalu gaji t i dak cukup (SUARANYA MENGELUH) coba pikir, gaji buruh sekarang sudah lagi tidak seimbang dengan harga – harga kebutuhan dengan yang kuterima sekarang sesungguhnya kami hanya bisa hidup untuk sepuluhhari saja, dan yang dua puluh hari lagi mesti ditutup dengan meminjam, menghutang,menggadaikan, kalau perlu menjual barang yang sudah ada dan keadaan ini su dahberbulan – bulan, kian lama hutang itu bukan semakin sedikit. Aku takut akhir – akhirnya aku bekerja bukan buat istriku lagi, tapi semata – mata untuk mereka yang menghutangkan. [18]. Based on this quote, it can be deduced that the main character’s main proble m is a problem involving economic factors. Problems emerge, and they have an effect on his social relationships with others. Suminta and her wife were in debt as a result of their failure to meet their household’s needs. Suminta’s wage as a laborer is only enough to cover her basic needs for ten days; in the meantime, she will have to go into debt or sell commodities with a selling value that can be traded for money to make ends meet for the next twenty days. The drama script Sayang Ada Orang Lain by Utuy Tatang Sontani is based on real – life events. Suminta, who has a wife named Mini, is struggling financially. His family s financial issues had not been addressed for months. The concerns that Suminta’s characters face are similar to those that exis t regularly in society. Economic insecurity is a dilemma that can make life difficult. A husband’s role in the family is crucial in fulfilling his needs.However, in today s society, the wages produced are inadequate to meet the needs of the economy. Borrow ing from neighbors, food stalls, or family members when their resources are inadequate to meet the needs of the household is a common practice. The portrayal of social life in Utuy Tatang Sontani s drama script Sayang Ada Orang Lain can be found in socie ty s social realities. Despite her poverty, Mini, Suminta s mom, leads a squandering lifestyle. Mini also wants jewelry that isn t a requirement, considering the fact that she can t afford it. This is a normal event in people s lives. In addition, the wife ‘s inability to handle finances creates financial turmoil in the family. As a result, basic household needs are not met, and people are forced to borrow money from friends, relatives, or even moneylenders to meet their daily needs. As can be seen in the di alogue below. PERM.TUA : Katanya mau bayar hari ini. Didatangi hari ini tidak ada. Bagaimana sih? Putar – putar terus. SUMINTA : Lantas mau apa ?gajiku memang tidak cukup! PERM . TUA : Loh, tuan tak usah marah. Saya tidak perlu tahu cukup atau tidaknya gaji tuan. Hutang ya tinggal hutang. Dan tiap hutang mesti dibayar. Tidak cukup hanya dengan janji. [18].
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