drama assignment

NAME : YASINTA DIKA LISTYANA.
NIM : A.320 080 259
CLASS : F
1. Character and Characterization.
In this drama script, there are three characters. They are Maid, Pupil, and Professor. Based on these characters there are two major characters. They are Pupil and Professor. And then the minor character is Maid. The identity of these characters such as follows:
a. Maid : She is stout, aged 45-50, red-faced, and wears a peasant women’s cap. She is a bad woman who is covers wickedness of her boss. She feigns to be a good woman to every Pupil of her boss. But she is very loyal to her boss notwithstanding her boss is fault.
b. Pupil : A young Pupil aged 18. She is wearing a gray student’s smock, a small white collar. She is kind and warm. She is not cleaver Pupil. She is easy to bore and little lazy.
c. Professor : he is little old man with a little white beard. He wears pince-nez, a black skull cap, a long attachable white collar, a black tie. He is smart, intelligent, and educated people. He is also demurely man and polite. He has a bad temper and easy to angry. He is the murderer of fourth of his Pupil.
2. Setting.
The setting places in “the lesson” drama takes place in the Professor house. In this house is also to use room course for his Pupil.
3. Plot.
The plot of this story uses traditional plot. The traditional plot consists of four parts. The first part is exposition. The exposition begins when the maid opens the door for the new Pupil and she calls the Professor to come down. And the pupil meets with the professor and they introduce their selves to each other. The second plot is complication. The complication in this story begins when the professor asks a question to the pupil but she cannot give a right or good answer. And the she does not understand the explanation of the professor. The third plot is climax. The climax in this story begins when the professor cannot handle his temper to his pupil. He blows of the knife twice to his pupil and the pupil is dead at this time. He is confused about what he has done to his pupil. And then his maid knows what he has done to his pupil, many problems begins in this part. The last plot is resolution. The resolution begins when the fact about professor revealed. The fact in this story is the professor is murderer of fourth of his pupil and the maid knows the problems of his boos. The maid makes a deal with the professor. The professor deals with his maid to bury all of his victims. The lat session is the maid opens the door to other pupil or the next victims of professor.
4. Point of View.
The point of view in this story is non-participants because the narrator does not introduce his/ herself as a character.
5. Style.
The grammatical structure that uses in this story is dialogues (standard language). The sentences construction that uses in this story is long dialogues. The norm of languages that used in this story is formal conversation between Professor and Pupil/ student. The figurative languages in this conversation used hyperbole (that’s good that’s very perfect; you are exquisite. I congratulate warmly miss; so much worse for me), personification (I’ll bash in your skull).
6. Theme.
The theme of this story tells about the relation men and society.
7. Issue.
The professional professor killed fourth of his pupil caused one reason that was the pupil could not followed his course. They did not understand professor explanations. It might be described that professor was a psychopath.
8. Summary.
In this story tells about the relation between men vs. society. It tells about professor who killed fourth of his pupil. The professor’s maid covered the wickedness of his boss. They are buried by professor and his maid to make corpse disappear and they are not punishable. The message in this story tells about how uncontrolled temper made a misfortune. The teachers should be understand the ability of his students and encourage to them to learn more based on their ability.

TEMBANG MACAPAT2

Mijil
Poma kaki padha dipun eling
Ing pitutur ingong
Sira uga satriya arane
Kudu anteng jatmika ing budi
Ruruh sarta wasis
Samubarang tanduk

Sinom
Nulada laku utama
Tumraping wong tanah Jawi
Wong Agung ing Ngeksianda
Panembahan Senapati
Kepati amarsudi
Sudaning hawa lan nenpsu
Pinesu tapa brata
Tanapi ing siyang ratri
Amemangun karyenak tyas ing sasama
Kinanthi
Saranane wong yun luhung
Betah tapa kurang guling
Elinga solah jatmika
Yen wicara kudu manis
Murih sengseming sasama
Samaning manungsa sami
Dhandanggula
Lamun sira anggeguru kaki
Amiliha manungsa kang nyata
Ingkang becik martabate
Sarta kang wruh ing hukum
Kang ngibadah lan kang wirangi
Sokur oleh wong tapa
Ingkang wus amungkul
Tan mikir pawewehing lyan
Iku pantes sira guranana kaki
Sartane kawruh ana
Asmaradana
Aja turu sore kaki
Ana dewa nganglang jagal
Nyangking bokor kencanane
Isine donga tetulak
Sandang kalawan pangan
Yaiku bageyanipun
Wong melek sabar narima
Gambuh
Aja nganti kabanjur
Barang polah kang nora jujur
Yen kabanjur sayekti kojur tan becik
Becik ngupayaa iku
Pitutur ingkang sayektos
Maskumambang
Maratani mring anak putu ing wuri
Den padha prayitna
Ajana kang kuma wani
Mring biyung tanapi bapa
Durma
Ingkang eling iku ngeling ana marang
Sanak kadang kang lali
Den nedya raharja
Mangkono tindak ira
Yen tan nggugu iya uwis
Teka meneng amung aja sok ngrasani
Pangkur
Sekar pangkur kang winarna
Lelabuhan kang kanggo wong ngaurip
Ala lan becik puniku
Prayoga kawruh ana
Adat waton punika dipun kadulu
Miwah ingkang tata krama
Den kaesthi siyang ratri
Megatruh
Para janma sajroning jaman pakewuh
Kasudra nira andadi
Dahurune saya ndarung
Keh tyas mirong murang margi
Kasetyan wus nora katon
Pocung
Ngelmu iku kalakone kanthi laku
Lekase lawankas
Tegese kas nyantosani
Setya budya pangekese dur angkara

Contoh Tembang Macapat

Macam - macam contoh tembang macapat :

Mijil
Dawaning awan, sepining wengi
Ning ati mung loro
Amung ana awakku lan kowe
Kabeh ngiwiti cerita iki
Ning ja nganti lali
Pituture wong tuwa
Maskumambang
Wis suwi aku nunggu kowe ra tangi
Agawe kuciwa
Saiki kowe wis bali
Lan dadi penghuni surga
Kinanthi
Lagi dhek wingi ketemu
Wis ngrasa kangen ing ati
Masia kur sedhela
Nanging tetep ana arti
Ora pengen tak lalekna
Tetep ana njero ati
Sinom
Ja sepelekke nasehat
Kang bakalan migunani
Awit cilik teka tuwa
Ja mung dipendem ing ati
Ning tansah dilakoni
Bisa guna nggo uripmu
Kang bener turutana
Ja didelok sing nuturi
Ning jupuken paedahe ingkang guna
Asmaradana
Sepiku ing tengah wengi
Aku tansah kelingan
Saiki sing tak rasakne
Saya suwe saya cuwa
Aku kur basa pasrah
Kabeh rasamu nggo aku
Ora bisa tak rasakna
Durma
Ing kana–kene akeh mayit gumelethak
Kang mbela nagari
Nggo ngusir penjajah
Lara ra sepiroa
Nganthi tumeka ing pati
Bisa merdeka
Kang tujuan utami
Dhandhanggula
Sekolahku ing SMP siji
Aku manggon ing kelas songo A
Kadang resik, kadang reget
Thitik sing gelem manut
Bocahe rame lan kemlinthis
Agawe nesu sing mulang
Iku gambaran kelasku
Isik ngono keadaane saiiki
Ning aku tetep bangga
Gambuh
Nasihat lan pitutur
Kang bener terapna nggo uripmu
Kabeh eling–elingen ja nganthi lali
Aja lali pituturku
Merga sira isih enom
Pangkur
Ora wedhi nyawa ilang
Nggo mbales dendam kang ana ing ati
Gawe ora bisa turu
Sing terus kepikiran
Pinginku kuwi wis atos kaya watu
Pancen angel gawe sirna
Masia teka ing pati
Megatruh
Apa kedadeyan iki wis takdirku
Kelangan wong sing tak asih
Isik take ling kabeh janjimu
Agawe lara ing ati
Merga kowe saya adoh
Pucung
Bapak pucung biasane saka kayu
Awujudmu kothak
Iku kanggo adah klambi
Biasane si pucung ana ing kamar

TEMBANG MACAPAT

Secara umum diperkirakan bahwa macapat muncul pada akhir masa Majapahit dan dimulainya pengaruh Walisanga, namun hal ini hanya bisa dikatakan untuk situasi di Jawa Tengah.^[8] Sebab di Jawa Timur dan Bali macapat telah dikenal sebelum datangnya Islam.^[8] Sebagai contoh ada sebuah teks dari Bali atau Jawa Timur yang dikenal dengan judul Kidung Ranggalawé dikatakan telah selesai ditulis pada tahun 1334 Masehi.^[13] Namun di sisi lain, tarikh ini disangsikan karena karya ini hanya dikenal versinya yang lebih mutakhir dan semua naskah yang memuat teks ini berasal dari Bali.^[15]
Sementara itu mengenai usia macapat, terutama hubungannya dengan kakawin, mana yang lebih tua, terdapat dua pendapat yang berbeda. Prijohoetomo berpendapat bahwa macapat merupakan turunan kakawin dengan tembang gedhé sebagai perantara.^[16] Pendapat ini disangkal oleh Poerbatjaraka dan Zoetmulder. Menurut kedua pakar ini macapat sebagai metrum puisi asli Jawa lebih tua usianya daripada kakawin. Maka macapat baru muncul setelah pengaruh India semakin pudar.
Supaya lebih mudah membedakan antara guru gatra, guru wilangan lan guru lagu dari tembang-tembang tadi, maka setiap metrum ditata di dalam sebuah tabel seperti di bawah ini^[17]:

Metrum	Gatra	I	II	III	IV	V	VI	VII	VIII	IX	X
Tembang cilik / Sekar alit
Dhandhanggula	10	10i	10a	8é	7u	9i	7a	6u	8a	12i	7a
Maskumambang	4	12i	6a	8i	8a
Sinom	9	8a	8i	8a	8i	7i	8u	7a	8i	12a
Kinanthi	6	8u	8i	8a	8i	8a	8i
Asmarandana	7	8a	8i	8é	8a	7a	8u	8a
Durma	7	12a	7i	6a	7a	8i	5a	7i
Pangkur	7	8a	11i	8u	7a	12u	8a	8i
Mijil	6	10i	6o	10é	10i	6i	6u
Pocung	4	12u	6a	8i	12a
Tembang tengahan / Sekar madya
Jurudhemung	7	8a	8u	8u	8a	8u	8a	8u
Wirangrong	6	8i	8o	10u	6i	7a	8a
Balabak	6	12a	3é	12a	3é	12u	3é
Gambuh	5	7u	10u	12i	8u	8o
Megatruh	5	12u	8i	8u	8i	8o
Tembang gedhé / Sekar ageng
Girisa	8	8a	8a	8a	8a	8a	8a	8a	8a