Siapakah Ki Tristuti Rahmadi Suryosaputro ?
Admin blog Wayangpustaka mendapat foto copy ( dari Mas Neno Giri, Leuwinanggung, Depok Timur ) tulisan ketikan Ki Suryosaputro yang menghimpun cerita wayang “ Serat Pustakaraja Purwa “. Foto copy yang diterima berjumlah 10 jilid, yaitu jilid 1 sampai dengan 9 ditambah jilid 11. Mas Neno Giri tidak mempunyai yang jilid 10.
Blog Wayangpustaka akan mengkonservasi tulisan tersebut menjadi file digital dan akan menampilkan secara bertahap alamat URL tempat file sharing dimana file digital tersebut bisa diunduh gratis. Sebelumnya, Admin persilakan Pembaca membaca dahulu tentang siapa itu Ki Suryosaputro yang Admin kumpulkan dari berbagai sumber :
08 Nop 2009> Pujangga Pedalangan Ki Tristuti Rachmadi Suryosaputro wafat.
Pujangga Pedalangan Ki Tristuti Rachmadi Suryosaputro wafat.
Dalang wayang kulit purwa Surakarta, berita kematian, obituari.
Pengantar Admin Wayang Purwa Links :
Di hari-hari terakhir bulan Oktober 2009, pewayangan Indonesia kehilangan dua orang dalang sepuh yang selama hidupnya telah membuat ‘catatan kegiatan istimewa’ di dunia pedalangan pewayangan Jawa. Rekan dari Surakarta mengabarkan wafatnya Ki Tristuti Rachmadi Suryosaputro, rekan dari Yogyakarta mengabarkan wafatnya Ki Sukasman.
Di bawah ini kami tampilkan berita dan tulisan obituari tentang Ki Tristuti Rachmadi Suryosaputro, kemudian di catatan lain kami tampilkan berita tentang Ki Sukasman.
Berita di Harian Solopos, Surakarta :
Pujangga Pedalangan Ki Tristuti Rachmadi Suryosaputro Wafat.
By mufid on 30 Oktober 2009 | 18:02
Solo (Espos)–Berita duka menyelimuti seni pedalangan Indonesia. Dalang senior, KRT Yohanes Tristuti Rachmadi Suryosaputro atau yang akrab disapa Ki Tristuti Rachmadi telah berpulang ke pangkuan Tuhan Yang Maha Esa, Kamis (29/10), pukul 09.45 WIB, di kediamannya, di Jl Rinjani Timur III/27 RT 4/RW XIX, Mojosongo, Jebres, Solo. Dia meningal lantaran menderita penyakit hepatitis B.
Pada hari dia dimakamkan, Jumat (30/10), sekitar pukul 15.00 WIB, sejumlah kerabat dan sahabat pun ikut mendampinginya hingga ke peristirahat terakhir di TPU Pucang Sawit, Jebres, Solo. Siang itu, kerabat dan para sahabat terlihat sedih dan merasa sangat kehilangan. Dalang yang dikenal dengan kepribadian santun dan bijaksana tersebut wafat pada umur 70 tahun.
Meninggalnya dalang yang lahir di Purwodadi, 3 Januari 1939 tersebut mengundang simpati dari berbagai pihak termasuk seniman dan para dalang. Selama ini, Tristuti dianggap sebagai dalang senior yang masih konsisten memegang pakem saat dalang-dalang lain bermunculan mengusung inovasi baru dalam pentas wayang.
Salah satu dalang yang juga masih kerabat dengan Tristuti, Ki Sayoko Gondo Saputro mengaku merasa kehilangan beliau. Tristuti selama ini sudah dianggap sejumlah dalang sebagai guru yang menjadi panutan.
Bahkan, tak sedikit dalang-dalang kondang sekarang ini menjadikan dirinya sebagai rujukan. Seperti Ki Manteb Sudarsono, Ki Purbo Asmoro, dan Ki Anom Suroto.
“Dia itu sudah jadi tempat ngudal piwulang bagi dalang-dalang lain. Tak sedikit yang menjadikannya sebagai panutan,” tukas Sayoko.
Tristuti sendiri semasa hidup juga aktif menciptakan janturan untuk bahasa pedalangan. Maka tak berlebihan jika Sayoko menjulukinya sebagai seorang pujangga dalam pedalangan.
Secara pribadi, Tristuti yang pernah aktif pada Lembaga Kebudayaan Rakyat (Lekra) itu tak pernah berbuat macam-macam. Menurutnya, dalam kehidupannya sehari-hari ia tergolong sosok yang ramah, santun, dan nerima.
Tulisan obituari yang tampil di status Facebook akun Danis Sugiyanto dan akun Ki Seno Nugroho :
Ki Tristuti Rahmadi Suryasaputra, Dalang yang Fenomenal.
Aku kagum pada tokoh dalang satu ini meski belum melakukan pemahaman komprehensif tentang beliau. Berikut saya cuplikan tulisan-tulisan dari situs: Indonesian performing arts (email@example.com) tentang biografinya, kesan, dan pengalaman orang lain yang pernah mengenalnya.
Kathryn Emerson wrote :
So sorry to have to pass on the news that Ki Tristuti Rahmadi Suryasaputra, dalang, passed away in his home in Mojosongo, Solo on Wednesday morning at 10:00 am after a 2-month illness.
Pak Tristuti was born in 1939 in Grobogan, Klaten, making him 70 years old at his death. He began his pedalangan studies while a child, with a variety of dalang in Klaten, including Ki Hardjamartana, Ki Soran, and Ki Slamet Surja Atmadja (his grandfather). He often performed short segments before his grandfather’s all-night performances, but then did his first all-night performance at age 15, lakon Tuguwasesa. Meanwhile, Pak Tris was attending regular schools from elementary-secondary schools, graduating in 1959 with a 2-year college degree in “Ilmu Pasti”.
He became a high school teacher in Purwadadi from 1959-1960. He married in 1961 to a woman from Purwadadi named Nasrini and had three daughters–Candra Trisnani, Yuli Tristanti, and Riri Trisparanti. Meanwhile, Pak Tris was becoming more and more popular as a dalang, performing in Solo, Semarang, Jakarta, Pati, Blora. He becamoe known as an innovator–in the early 60’s using a wayang golek dancing gambyong to begin Limbukan; employing viola and trumpets in the gamelan, for example). He was also inspirational in the experiments LEKRA (an arts organization run by the Communist Party at the time) was conducting at the time, with extra-large wayang screens and 3 dalang performing at once–also with the 4-hour performances LEKRA was experimenting with before ASKI.
In 1965 he was invited by then President Sukarno, to perform at the Istana Negara, lakon Udawa Sayembara. Things were going well for Pak Tris, and he was becoming more and more popular.
Without warning and completely to his utter and tragic surprise, on 21 October 1965, after a wayang in Pemalang, Pak Tris was informed by the police that he was no longer allowed to perform. On 5 Nov 1965 he was imprisoned as a political prisoner. Over five years he was moved around from prison to prison, and then on 10 October 1970 was moved to Buru Island, only to be let out on 10 October 1979, fourteen years after his initial imprisonment. He came out of prison and back to Purwodadi to find that his home had been destroyed and his wife and 3 daughters had left him–the wife remarrying and the daughters officially adopted by the new father, and all taken live in Sydney, Australia to this day.
Ki Tristuti was still banned from performing, and desparate for work. He had remarried—to a woman named Mulyati–and had a new daughter, Kinanthi Firman Sih. In 1980, Ki Tristuti was asked by Ki Anom Soeroto, to come live with him and be a writer for him–preparing everything from entire night-long lakon to sections of philosophy and narration for Ki Anom. This working relationship lasted for about 7 years, after which Ki Tristuti began to write for Ki Manteb Soedarsono. After many years working for Ki Manteb, Ki Tristuti then became more freelance, and wrote prolifically for dozens of dalang.
Around the mid 90’s Ki Tristuti was officially allowed to perform once again. He continued to write and perform, write and perform. Just last year, he began a program at Bale Agung meant to document the entire Mahabharata and Ramayana, lakon by lakon, once a month for “as many years as it takes”.
Pak Tristuti was innovative in a number of ways—employing prologue in the early-early days, using purwakanthi (alliteration and rhyming schemes) early on in janturan, and having a strong dramatic flair. In 2000 he performed in the USA—toured Berkeley, CA/Hawaii/New York/Wesleyan, and maybe some other locations I’m not aware of.
He is survived by his wife Bu Denok/”Bu Tris” (whom he married in 2001, after Mulyati died of an illness), and his daughter Kinanthi.
Pak Tris’s funeral will be tomorrow (Thursday) at 11:00 in Mojosongo, and no doubt will be attended by the huge community of dalang and musicians who will miss him so much.
I meant to note that the information on Pak Tris came from Ki Purbo Asmoro’s Master’s thesis on the effect of Pak Tris’s writings on dalang in Solo from 1983-2003, and was included here with the complete support and permission o f Pak Tris’s wife as well as Ki Purbo:
Kehadiran Naskah Pedalangan Karya Tristuti Rahmadi Suryasaputra Dalam Pertunjukan Wayang Kulit Gaya Surakarta, UGM 2004, Purbo Asmoro
Hardjo Susilo wrote:
Likewise I am deeply saddened by the passing of this great artist. The first time I met Pak Tristuti was in the early 1980s, when he was
out of Buru but the country was still under the Suharto’s regime.
It was at one of those monthly wayangan at Pak Anom’s. Ignorant of his stature in the wayang world I asked him what he did. He said he was a dhalang, but he had retired. He looked young to me. And dhalang don’t retire. But from the way he told me it appeared like he did
not retire voluntarily. I sensed that he was not comfortable talking about it.
So, I didn’t pursue. That night I heard a very nice srepegan in pelog nem during the first period. I was wondering what it was and he said that “it is srepegan Tambak bayan.” What an intriguing name “an alligator dike?! Check the kenong-kempul progression, he said, it’s nothing but srepegan slendro nem transferred into pelog. That indeed was. And I knew this man must have profound knowledge of wayang to be able to spot this piece in one ulihan.
Since then I heard his name more and more frequently. I wished I would have a chance to see him in action. For this reason I said yes before Mas Ben Brinner finished his invitation to me to translate his performance in Berkeley.
Mas Ben, I deeply thank you for that opportunity. Just from that condensed wayang I could see Pak Tris’ creativity, his dramatic, his excellent timing, etc.
Since that night at Pak Anom’s I can not play Srepegan Tambak bayan without remembering Pak Tristuti. It goes thus:
May God bless his noble soul.
Marc Hoffman wrote :
The first time I saw Pak Tristuti perform was in Anom Suroto’s studio when he was released from Buru Island. I heard that he was performing and went at the urging of my ASKI classmates. I knew nothing. When I protested that I was busy and had never heard of him, they just told me I had to go.
The lakon was “The Death of Gondomono.” About 150 in the audience, all dalangs except me. But I had performed the lakon, too, more than once and, like the others, knew the story, the drama, and the structure thoroughly.
Gondomono, a great hero and now an old man stands as champion in a marriage contest. Bima, as champion for his brother Yudistira, fights him .
Gondomono gets Bima in a headlock so strong that Bima has to push him away with all his force, inadvertantly stabbing Gondomono with his magic thumb nails, killing him.
When Gondomono died, I could hear the men all around me in the dark hall crying, as the tears rolled down my face.
Pak Tristuti! When Gondomono first confronted Bima in the arena, he began crying. The Pandawa had been considered dead, having perished in the trap of a burning palace set by their cousins, the Kurawa. This was their first emergence from hiding after their escape and Gondomono was overcome, not only because he was learning the Pandawa were alive, but from seeing the son of his great friend, Pandu, as such a strong, grown, warrior. Bima is embarrassed by Gondomono’s public tears, protesting that it is unbecoming for a warrior to show such emotion, and Gondomono says, “I’m an old man and I’ve earned the right to cry openly in my own arena [for he had once been the crown prince in that kingdom] and furthermore I’m still strong enough to whip you, so try to stop me.”
I believe that it was this masterful touch that gave us all permission to cry when Gondomono’s end came, an end that, I’m sure, each member of the audience had portrayed many times before.
The perang ampyak that night was astounding. Each wayang performance begins in some kingdom, then the army departs, fighting its way through obstacles and clearing the way before it. There are variations, but the heart of the matter is that the marching army, represented by a large square puppet, cuts down trees and pries up rocks, all represented by the kayon, another large puppet. Generally, it’s the least interesting of the evening’s battles, more of a warmup or harbinger of what’s to come. Not Pak Tristuti’s, which was heart-stopping. Later, when I got to know him, I asked him about it. “On Buru I learned something about clearing roads,” he said.
While it is hard to talk about “realism” in the wayang, the blows in the one-on-one fights on the screen that night had a weight, a physicality I’d never seen before, nor have I seen in the hands of any other dalang. They showed how brutal a fist fight, or one with weapons, could be. I never asked him about it. I am sure that from what he’d seen in prison he’d learned something about that, too.
(akhir unggah 08 Nop 2009)