The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective Aji Jakaria1.
Jaeni2.
Nissa Agrarini3 Institut Seni Budaya Indonesia (ISBI) Bandung 212 Buah Batu Street.
Bandung.
Indonesia 1ajijakaria01@gmail.
com, 2jaenibwastap@gmail.
com, 3nissaargarini@gmail.
ABSTRACT
The Learning with Maestro (BBM) Program, initiated by the Ministry of Culture of the Republic of Indonesia, seeks to enhance art appreciation and cultivate student character through engagement with six art maestros: Ki Purbo Asmoro .
Nasirun .
Sundari Soekotjo .
Iman Soleh .
Gus TF Sakai .
, and Didik Nini Thowok .
The BBM Theater Arts Program took place at Celah Celah Langit (CCL) in Bandung, with participants from eight distinct regions: Kupang.
Bali.
Aceh.
Jambi.
West Java.
Banten.
Yogyakarta, and Makassar.
The objective of the study is to analyze Charles Sanders Peirce's triadic idea as it pertains to the Bahtera text, emphasizing representamen, object, and interpretant.
This research employs a descriptive qualitative methodology, utilizing data collection approaches such as observation, interviews, and document analysis.
This study yielded five principal findings: the symbol of co-existence, plurality index, ecological icon, symbol of materiality, and symbol of transcendence.
The study concludes that the Bahtera script functions as a communal semiosis capable of fostering social, ecological, and transcendent consciousness through symbolic dramatic signs.
Interviews were systematically executed by devising research instruments comprising questions pertinent to the research subjects.
The researchers interviewed a participant in the BBM program who was intimately engaged in the scriptwriting process.
The interview is semi-structured, designed to obtain a comprehensive understanding of the script's development background and the creative dynamics between the participants and the theater maestro in interpreting the script's symbolism.
Keywords: Script.
Bahtera.
Semiotics.
Triadic.
BBM.
INTRODUCTION
participants of the BBM Program began with field-specific workshops, followed by field- The Learning with Maestro Program, specific training with a maestro, the creation also known as the BBM Program, is a of works in the maestro's area of expertise, program carried out by the Ministry of and concluded with the harvesting of works Culture of the Republic of Indonesia, which or presentations of the completed projects.
aims to increase creativity, art appreciation.
The younger generation demonstrates and cultural awareness for the younger great enthusiasm in the 2025 BBM Program.
generation (Trilestari et al.
, 2017: .
Purnomo Widodo .
revealed that 60 young artists, .
explained that the activities for Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 aged between 18 and 25 years, participated in One of the important components in the BBM program that year.
They were this process is the construction of cultural selected from 573 people enrolled from 189 identity through the creation of works.
universities in 31 provinces.
The number and Cultural identity is a picture of historical reach of these participants reflects that the similarities and cultural symbols that unite a interest of the younger generation in the arts group of individuals even though they look and culture is still very high if there is a different from the outside (Aminuddin, suitable container.
Venda .
added that Herdiani & Dwimarwati, 2022: .
Based on BBM interview data.
AV, the performer of Bahtera participate in residency activities from July 20 .
, explained that the Bahtera script was to August 19, 2025, with six Indonesian created through the collaboration of BBM maestros who accompanied them, including participants, which combined the experiences Ki Purbo Asmoro as Maestro dalang.
Nasirun of theater arts maestro Iman Soleh and the as Maestro of painting.
Sundari Soekotjo as Maestro of music.
Iman Soleh as Maestro of explained that the scriptwriting method theater.
Gus Tf Sakai as Maestro of literature, applied in collaboration can provide feedback and Didik Nini Thowok as Maestro of dance.
to each other because the process involves This program is not only an art training but several people.
Setyono also a place for generations to work together A theater script can be understood as a in maintaining the sustainability of local crucial part because it organizes ideas, cultural values.
storylines, and conversations and determines One of the BBM activities is located in the course of theater performances (Sabarno Celah Celah Langit Bandung, known by the et al.
, 2024: .
The Bahtera script presents a public as CCL Bandung, which is fostered by journey and togetherness that seeks to Iman Soleh as a theater maestro.
During the understand local identity through the art of interview.
AV, as the performer of Bahtera The dialogue in the script can depict .
, explained that the participants who events or actions, thereby creating dramatic participated in this activity came from moments (Purwanto, 2023: .
The Bahtera various regions, namely Kupang.
Bali.
Jambi, script is collective and reflective, consisting of West ideas, symbols, and signs that do not have a single meaning.
Therefore, the script has a participants not only create works together creative process at the time of its creation that but also form a sense of character and is shaped, agreed upon, and reinterpreted awareness of each other's culture.
This .
nterview with AV as the Bahtera performer, finding is in line with the opinion of Sugiarto Kadir .
5: 3.
asserted that icons, et al.
4: .
, who explained that the BBM indices, and symbols play a role in the Program makes a container for learning the representation of the spiritual values of the arts and culture that is very effective and Gorontalo people.
He revealed that local builds the character of learners.
symbols are one form of cultural resistance to Java.
Makassar.
Banten.
Through Yogyakarta.
Peirce semiotics is understood to The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective interpret structures, signs, indices, and relationships in the storyline.
Furthermore.
However, there is no research that the analysis presented by Paputungan et al.
examines the process of collective creation, as .
5: .
of the drama script Cahaya Asa by done in the BBM Program.
Griona Yuniasfira Baturante found that The theatrical script serves as the main elements such as icons, indices, and symbols means of conveying cultural expression.
in the text symbolize struggle, hope, and can be said that the theatrical script is an social norms, which are reflected in the use of important element that organizes ideas, plot, props, changes in character expressions, and and dialogue and guides the course of the the repetition of certain terms.
The results of performance (Sabarno et al.
, 2024: .
In the this analysis indicate that the drama script Bahtera script, there is a picture of a joint has the potential to contain meaning that journey that aims to understand local identity transcends boundaries through the structure through reflective scenes and dialogues.
of drama and symbolic expression.
Kadir Purwanto .
3: .
said that the dialogue in .
5: 3.
also states that icons, indices, and the script can display dramatic events that symbols are capable of representing the show action and social reality.
The Bahtera spiritual values of a society as well as script has a collective and reflective character.
functioning as a form of resistance to the it is made of ideas, symbols, and signs that impact of modernity.
However, there is no have a double meaning.
An interview with AV .
confirms that the creation of this creative process of making theater scripts script was the result of shaping, agreement, collectively in the framework of art education and reinterpretation in a creative process programs such as BBM.
Therefore, these involving participants and the maestro.
This uniqueness encourages researchers to explore investigate the meaning of the signs in the the manuscript as a cultural text that holds collective manuscript of the Bahtera using complex representations about identity and Peirce's semiotic approach.
social values.
This problem is increasingly relevant to Several previous studies revealed the that specifically Peirce's the condition of the younger generation Researchers were worried about the approach in analyzing play scripts as a means younger generation's low understanding of of revealing cultural and social problems.
their culture, so they conducted this study.
Nurhadi et al.
9: .
found in the RT Nol This phenomenon was also revealed by RW Nol manuscript by Iwan Simatupang the Rahman .
, who stated that young people existence of a language sign relationship that often find local culture less attractive when reflects the difference between the ideal compared to foreign cultures.
This situation world and social reality.
Meanwhile, research is evident in several local cultures that have conducted by Fitriati et al.
4: .
on the begun to fade due to a lack of attention and script Ayahku Pulang by Usmar Ismail participation from the younger generation.
managed to identify eight indices, three This research aims to increase the younger icons, and four symbols that describe causal generationAos Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 preserving local culture is important.
cultures that began to fade due to lack of attention and participation from the younger Observation This research is expected to Data collection techniques by observation contribute to reviving the awareness of the can provide an opportunity for researchers younger generation about the importance of to see directly the behavior, interaction, or maintaining and preserving local culture.
events at the study site (Romdona et al.
using the analysis of triadic concepts in the collective script of the Bahtera, the art of participatory because the researcher is not theater can be an effective container in directly involved in the performance.
This strengthening cultural identity.
Therefore, study was conducted at the time of the title of this study is "The Triadic Concept of the Bahtera Collective Script in the performances that took place on the stage Learning Program with Maestro from a of the Open-Air Theater located in CCL Semiotics Perspective.
Bandung.
This observation focuses on METHOD understanding the context of staging and The Bahtera the suitability of the script for reality.
This research employs a qualitative descriptive methodology utilizing a semiotic Interview framework as articulated by Charles Sanders Interviews were conducted logically by Peirce.
Bahtera preparing research instruments in the collective script, which emerges from the form of questions related to research Maestro (BBM) 2025 Program.
This strategy topics (Jaeni, 2015: .
The researchers was selected since this study focuses on conducted interviews with one participant interpreting the meaning of the symbol in the in the BBM program who was directly script rather than on performance or audience involved in the scriptwriting process.
The This aligns with Sugiyono's .
interview is semi-structured with the aim .
assertion that qualitative methods are of getting a complete picture of the predominantly grounded in a postpositivist background of the creation of the script philosophy, frequently employed in the and the collaborative process between the examination of natural phenomena.
This participants and the theater maestro to study examines the Bahtera collective script, interpret the symbols contained in the emphasizing the process of semiosis and triadic linkages, including representamen.
Study Of Documents objects, interpretants, and the educational The study of documents is very important symbols it encompasses.
to support research because to ensure Data Collection Techniques research can focus on data obtained from Researchers conducted data collection the field (Jaeni, 2015: .
The researcher techniques through three ways, namely articles and semiotic theory of Charles The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective Sanders Peirce, which became the main There are five findings in this material for analysis and the supporting study, namely the symbol of co-existence, the theory of theater semiotics and Drama plurality index, the ecological icon, the symbol of materiality, and the transcendence Keir Elam.
Symbol of co-existence meanings and educational values.
Data Analysis Techniques The simultaneous manner, following the model of Miles and Huberman.
According to Sugiyono .
7: .
, there are three stages, namely:
Figure: 1.
Documentation of the observation of the symbol of co-existence that shows seven players are playing a traditional game in the area of one of the participants of the program BBM.
(Source: Aji Jakaria.
August 16, 2.
Data reduction by selecting and simplifying relevant data through a sign system in the script.
Presentation of data through the grouping of signs into groups of A symbol is an entity that connects a icons, indexes, and symbols that then sign to its reference based on tradition, connect with the context of the illustrating the relationship between markers collective text.
and omens (Pandie.
Robot & Nurhuda, 2025:
Drawing conclusions by connecting This symbol in the Bahtera collective text the results of the analysis of signs to can represent an idea of togetherness the triadic concept of Charles Sanders between cultures, which is the core meaning Peirce to aim to determine semiosis.
of the entire text.
This script serves as a sign Therefore, the results of the analysis are that can accommodate the collaborative organized in a systematic and descriptive Ershad .
1: .
describes Charles way to emphasize the deep and related Sanders Peirce's triadic concept: symbols can meanings of the marks in the collective script be recognized through existing conventions, of the Bahtera.
The process of this analysis for example, in the use of sign words.
can describe the collective script to represent Therefore, to understand the symbols, it is meaning in Peirce's triadic concept as a form required to go through the learning process of meaning in collective theatrical works.
RESULTS AND DISCUSSION
The use and linguistic structure in the This study will discuss the triadic script is crucial because it can determine the concept contained in the Bahtera Collective meaning and convey information to the script created by the participants of the audience or reader (Nurhasanah, 2025: .
Learning with Maestro Program in the Celah The linguistic form of the Bahtera script can Celah Langit (CCL) Bandung with a semiotic Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 be useful as a representamen that can show HASBI : Ayok pegi lagi berangkat! objects in the form of collective space can be a OCID : Hayuu mangkat! container to accommodate differences, which UNON : Ayo gass budalkeeunn!! receive interpretants in the form of a meaning AAN : AmbemoAA SEMUA : Mari pergi, tidak dengan of togetherness that can continue to grow tangisan namun dalam kearifan .
nterview with AV as the Bahtera performer, pengetahuan! Ya! During the scriptwriting process, there The dialogue above shows a collective is a meaning that is gradually formed spirit rooted in a semiosis, such as signs of through the interaction between individuals language that can make social action a shared and the experience of each participant in the This is as explained by Elam BBM Program.
This is in line with the opinion .
5: .
, who states that language in the of Ersyad .
1: .
, who says that a thing can theater is not only useful as a medium of become or be considered a sign if interpreted communication but also as a dramatic action as a symbol by several interpreters.
The that can have a social effect.
Repetition of calls dialogue in the script contains a conversation to sail and depart can turn language into or story that will be displayed and will be symbolic actions to reinforce the value of played by someone, to then be displayed each player can play a role to simultaneously (Mukti.
Dwimarwati, and maintain harmony.
This is also in accordance Heriyawati, 2022: .
with what was stated in an interview with AV .
, stating that:
Art can play an important role in strengthening the sense of community and Bahtera itu sebagai satu ruang.
Dimana respecting differences and can also build a setiap budaya, aneka ragam, kekhasan tiap shared story that is inclusive and relevant to daerah tuh bisa berkumpul menjadi satu.
today's multicultural society (Sulaiman, 2025:
Dan kita tuh berlayar untuk mencapai The meaning of togetherness built from tujuan kita masing-masing.
Tanpa harus saling menjatuhkan dan menghancurkan.
diversity in the Bahtera script can be seen in The above dialogue has a meaning that the dialogue below:
does not stop at the symbolic level but PUTU : Kita lanjutkan pelayaran ini meskipun harus menikmati keributan, kemunafikan, kesengsaraan.
Ayo berlayar Based on the views of Ersyad menuju lautan harapan! .
1: .
, a collective interpretation arises of LISKA : Ayoo!! Mangkat!!! the sign that can occur when experiences ARIEL : Gaskeun, hayu indit! together can create a new awareness that can RIZKI : Jak ta beurangkat teuma! change the initial meaning of the sign.
PUTU : Lann gebrasann! The NAYLA : Yuu ah gera init! Bahtera representation of a plural society that is The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective aware of the values of togetherness as part of It can be interpreted that language the needs.
This is also in line with the view of cannot stand alone but points to social reality Hanifah et al.
5: .
, which states that to describe diversity.
Putri et al.
5: .
linguistic sign systems continue to be used to explained that language, society, and culture reveal social ideas such as struggle, unity, are three elements that are interconnected and ethics collectively.
Thus, the Bahtera and inseparable.
In this language index, it can script can serve for social semiosis, but there be seen that the Bahtera script can show is also a linguistic sign that can turn into a moral consciousness.
This is also explained by Zamhari et al.
5: .
, who said that language Plurality Index serves as a mirror of culture.
Below is a dialogue of linguistic diversity that occurs as:
UNON : Endi sing jarene entuk keuntungan? ngapusii, buak-buak wektu wae, kenthirrA AAN : Ah tailaso, taena buaAobuaAona ri Figure 2.
Observational documentation of the plurality Index showing seven players constructing the social meaning of the Bahtera text.
(Source: Aji Jakaria.
August 16, 2.
RISKI : Pakon haek mekre teuma hek tajak jioh jioh meu sapeu tan merempok.
PUTU : Naskleng! Pocol awake mai Eryhad .
1: .
states that an index is From the dialogue above can be a sign that can have a relationship with a understood so many languages in the Bahtera direct object, such as the proximity of a place or due to causation.
In the writing of the accordance with the proposal by Elam .
Bahtera script, it can be seen that the index is .
that the form of a multi-code system is a formed because of several regional languages linguistic sign from different regions that used by the participants of the BBM Program.
The multilingual involvement of the Bahtera dramatic meaning.
In the context of this, text can be one of the most important aspects Bahtera language is not only a sign of identity of socially constructing meaning.
but also a way to create a social effect that can This be an equal presence of the Bahtera in the In this Bahtera script, the presence of languages from various regions such as The above explanation shows that Kupang.
Bali.
Jambi.
West Java.
Banten.
Yogyakarta, and Makassar serves to index the marked origins of the socio-culture of each coexistence, which can be the main thing in .
nterview with AV as Bahtera performer, the script.
Kadir et al.
5: .
also agree Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 that language can often be a marker of Ecological Icons In this phenomenon it can be seen that the Bahtera script is used in local languages not only by speakers but also to create a collective awareness of diversity.
It is also in by AV .
in an interview stating Sebetulnya nggak ada dominasi budaya berbasis daerah ya dalam naskah ini.
Cuma memang ada bumbu-bumbu budaya yang Karena kan balik lagi kami mengangkat nilai lokalitas dan budaya serta tradisi.
Jadi ya akhirnya kami sesuaikan saja.
Oh, kayaknya adegan ini oke deh, kita masukin unsur-unsur Bali.
Dari Bliputu.
Bliputu Wahyu, misalnya, di adegan ini kita memasukkan unsur-unsur kebudayaan dari Bang Olan, dari NTT.
Nah, macam-macam gitulah.
Figure 3.
Observation documentation of ecological icons showing seven players who seem to have a close relationship with nature and the Bahtera script (Source: Aji Jakaria.
August 16, 2.
According to Zaini et al.
4: .
ecology is a way to see and understand problems related to the environment.
In the Bahtera manuscript this representation not only shows the visual beauty but also reflects Based on the interview data above, it a deep philosophy regarding the relationship reinforces the statement that the application between man and nature.
This is in line with of multilingualism can make a conscious Ersyad .
1: .
Peirce revealed that the icon is a sign that has a relationship of This is in line with Ersyad similarity with the object.
Words such as .
1: .
stating that each sign will always "sea," "waves," "mountains," and "rice fields" lead to a new interpretation depending on the in his iconic Bahtera script mimic the shapes, social context and experience of the readers.
sounds, and rhythms of nature displayed Therefore, when there is a local language in through language.
the script, it can reveal new interpretations This relationship of similarity can give for audiences from different backgrounds.
rise to powerful aesthetic and ecological The audience's interpretation of a work can experiences in which humans are not merely observers but part of the larger rhythms of powerful experience while offering a new Below is a dialogue that states that point of view (Supandi & Arimbawa, 2025:
collective ecological awareness occurs :
This is what Peirce calls unlimited LISKA : Aku lahir di laut, bermain pasir, semiosis, which is a chain of meanings that berlari lari di setiap riak ombak.
can continue to grow because each individual NAYLA : Aku lahir di gunung, has his own way of interpretation (Ersyad, bermandikan pohon, berlari lari di setiap 2021: .
Thus, the Bahtera text presents ujung daun.
plurality not as a distinction that needs to be removed but maintained.
The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective UNON : Pada sawah, pada lumpur, pada according to an interview with AV .
tanah basah kupijakan kakiku.
stating that:
NAYLA : Embun yang jatuh, berkumpul Kami itu tiga hari pertama itu diarahkan di sungai, lalu mengantarku ke rindu laut.
untuk menulis naskah monolog yang LISKA : Mataharilah yang membawa butiran riak, menetes di pucuk pucuk kebudayaan, tradisi lingkungan hidup, pokoknya nilai-nilai lokal lah, kelokalitasan.
UNON : Aku rindu hujan, aku rindu air Nah, tiga hari itu kami berproses membuat yang pulang dari pengembaraannya.
monolog kurang lebih selama satu minggu NAYLA : Aku rindu hujan yang datang itu antara membuat dan latihan untuk dari utara dan timur.
LISKA : Aku rindu hujan yang datang Based on the interviews above, it shows dari barat dan selatan.
that the ecological elements in this text have a UNON : Akulah lumpur, akulah padi dan strong understanding base.
In line with ani ani, akulah sawah.
NAYLA : Akulah ilalang yang terbang di Ersyad .
1: .
, the iconic mark in the script awan, akulah ladang.
often not only stops at visual resemblance but LISKA : Akulah ombak, akulah riak, also grows into an ethical symbol that can akulah laut.
point the reader to moral awareness.
BERSAMA-SAMA: Kami ladang, kami From here nature makes a medium for sawah, kami laut yang saling menjaga di human reminders to be responsible for the Earth.
And so every mention of the natural elements in the Bahtera serves as the beauty The dialogue above reveals a picture of of the text and an attempt to reconstitute the a powerful visual in building imagination relationship of man and nature.
This is in line ecologically in the delivery of natural with Sundya et al.
4: .
stating that It agrees with the view of Elam semiotics has the purpose of understanding .
5: .
, who states that theater scripts can what the meaning is in a sign by knowing create icons dramatically when linguistic structures mimic sounds or forms of non- verbal reality.
By sticking to the Elamite view .
Each dialogue represents a different .
, it can be understood that the Bahtera element, which ultimately comes together to script can build an ecological sign structure, take care of each other in a single container which works iconically and symbolically.
that is the Bahtera.
This shows that this Natural icons such as the sea, mountains, rice section not only describes the beauty of fields, and fields that copy the real beauty of nature but also presents the ecology that the world and their meaning can develop into humans and nature are related.
This is symbols of ecological awareness.
Pantun Jurnal lmiah Seni Budaya Vol.
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2 Desember 2025 Symbol of Materiality ARIEL : Hey! Setelah kemelut perjalanan panjang kita membelah lautan.
Rupanya harta karun yang kita cari adalah apa yang telah kita temui dalam perjalanan menuju kemari emas, intan, minyak, dan gununggunung.
Yah, kita akan kembali pada pelabuhan di tanah harapan yang Tuhan ukir dengan senyuman.
Figure 4.
Documentation of observations regarding material symbols that show seven players have a pattern of relationships between motion and meaning (Source: Aji Jakaria.
August 16, 2.
Based on the dialogue above, the consciousness from seeking to changing to In this context, the material is not simply an object but symbolizes the idea of human bonding found in the outcomes of its The body must be able to understand Peirce's view is that symbols are in all things that were originally artificial to dire need of interpreters who can relate signs develop into an appropriate context (Wail, to much higher concepts (Ersyad, 2021: .
2019: .
The text of the Bahtera is full of This material, in this context, signifies not semiotic meaning that mentions valuable only a physical object but also the concept of objects such as gold, diamonds, oil, and human bonding reflected in the results of its Peirce mentioned that symbol So this process can be called signs work when interpreters of meaning can semiosis, in which the sign, like a treasure, already pass conventions directly that can can generate new meanings with knowledge form arbitrarily between signs and markers and togetherness.
The criticism in the (Ersyad, 2021: .
These objects represent the dialogue above is further supported by AV natural wealth of Indonesia but can also be an .
, who states in an interview that :
index for economic and materialistic values.
behavior that prioritizes wealth compared to Kritik itu gak ada hubungannya.
Dengan kita dapat ini dari mana.
Dan siapa yang Karena kan ini adalah bentuk kebebasan berekspresi kami.
Nah, itu Jadi ketika kami mengkritik, itu bukan berarti kami membenci, kan? Justru kami mengkritik ya karena kami mencintai Indonesia kami.
This is in line with Mafiroh & The above statement confirms that in Purwanto .
5: .
, who stated that criticism the creative process, the Bahtera script is serves as a means to introduce new thoughts, more reflective of social criticism wrapped in stir up old concepts, and improve stalled or aesthetic signs.
This is also in line with the problematic social systems.
Dialogue below is opinion of Elam .
5: .
, which states that part of the materiality that occurs:
theater and dramatic text are networks of If it is interpreted that these signs relate more to the script and social reality, it shows that humans view nature as a resource that can be So at this point it is more focused on criticism that is implicitly against human social codes that can reinterpret existing The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective reality through the structure of language.
Therefore, this cannot be gestures, and symbols.
It can be understood that the mention of the above objects, such as The transcendence symbol here is "gold," "diamonds," "oil," and "mountains," is part of the peak meaning in the Bahtera text.
not just a coincidence but rather a semiotic In line with Muhtarom et al.
4: .
, which explains that culture has a significant impact between the material world and the world of The process of these two objects community life, depending on the region, or turns into a space for social reflection.
it can be an element of an individual's This is also reinforced by Hanifah et al.
In Peirce's view, signs depend on .
5: .
, stating that an object in a theater understanding cultural conventions and script is often an index of social value that can beliefs (Ershad, 2021: .
The language here reflect criticism of the dominating system and is no longer a medium for ordinary Also reinforced by the opinion of communication but has turned into a ritual Kadir .
4: 3.
, it confirms that signs are action that can take the reader into the material that is in modern drama scripts and spiritual space.
This is also in line with the often reinterpreted.
This means that the opinion of Ersyad .
1: .
that symbols in symbol of materiality in the Bahtera script the context of semiotics work not only moves in the same pattern as the object to the because of similarity or because of proximity, but because of an agreed belief system.
The following dialogues, such as the values of It is further Peirce's opinion that the return, prayer, and the union of man and sign was never completed.
In this context of nature, are as follows:
the Bahtera text, it is more apparent the clear
AAN: Ri cappaAo bombang na anging OLLAND: Leta neten koon ama kowa lolon
PUTU: Segara campuhan ujan, pengapti, lan ipian AAN: Lopi maAotasi lao ri labuAo essoAoe OLLAND: Jaga gerihan anam kame
PUTU: Titiang matemu sareng Ida
ngemargiang segara
AAN: Na lettuAo lalo onrong ri aseng eAo
BOLA
OLLAND: Patahkan gelisahmu, aku Tak ada hati yang terluka bila kita berkata jujur.
PUTU: Titiang budal ring Ida kasarengin antuk segara.
Aku pulang kepadaMu bersama laut.
process when the treasure is no longer a destination but an intermediary to the collective consciousness.
Knowledge can be found at the end of the text that is not the result of teaching but the result of a long journey of experienced characters.
Thus, we can see that the text of the Bahtera here managed to show materiality as a form of travel and social modern man to criticize greed as well as to realize the meaning of Symbol of Transcendence According to Kleden et al.
4: .
transcendence is a reality that is, above all, located beyond the capacity of human Pantun Jurnal lmiah Seni Budaya Vol.
10 No.
2 Desember 2025 The interview above confirms that the OLLAND: Kita pulang, pulang dari doadoa sunyi yang semesta titipkan pada bibir PUTU: Kupeluk lautku, kini dan "Mantra" is formed not only for aesthetics but also to build emotions and inner awareness.
It is as explained by Elam .
5: .
that the Based on the dialogue above, the performative code that can transform words arrangement of the mantra mixes languages into events.
When language is spoken with from the regions of Makassar.
Bali, and emotional intensity, it is not merely a Kupang.
East Nusa Tenggara.
Semiotically, representation but a symbolic act.
Thus, the the words "home" and "prayer" serve as symbol of this transcendent script is not the representamen that connect the reader with end of the story but the culmination of a the object as a whole, namely the spiritual journey that can tie the semiosis of the journey of the human being himself.
elements of social, cultural, ecological, and spiritual signs into social consciousness.
In this passage we can see the presence of the idea that The Journey Of The Bahtera is In this part of the "Mantra," a concept of not only physical, but also a form of inner layered semiosis is shown.
In each word, "go journey to find harmony.
Here it can be home," "sea," and "prayer" serve as the first understood that language can be a prayer, sign that can generate a new interpretant.
This is in line with Abidin et While the last interpretant .
4: .
stating that in cultural events, produces a religious experience that can be prayers that are often used are usually in the felt by the viewer or reader.
It is as stated by form of spells.
As already known.
Aumantras Ersyad .
1: .
: signs are more dynamic can also be interpreted as prayers and because their meaning can be created supplications to God through the creation of continuously by different interpreters.
In this Jinn, angels, prophets, and apostles, as well as referring to the highest entity in the relationship between man, nature, and God.
macrocosm and microcosm, which is God.
CONCLUSION
With this, the Bahtera can be reinterpreted as This study can be understood as the a theatrical art that acts as a spiritual space collective script of the Bahtera, a semiotic through linguistic signs between the human construction that can describe the human and divine bridge.
This is also in line with the journey towards social, cultural, ecological, opinion of AV .
in an interview, who economic, and transcendent consciousness.
stated that In Charles Sanders Peirce's triadic concept of Salah satu yang saya ingat tuh air.
Wah, itu representamen, object, and interpretant, each kan jadi musik musikal sendiri, ya, musik alami action in the text does not stand alone but Dan anehnya tuh penonton bisa nangis.
creates a dynamic chain of semiosis.
In the Nah, itulah bagaimana frekuensi itu berbicara dan view of Keir Elam also, the script is a network mempengaruhi sebuah peristiwa.
Bukan hanya of codes that rearrange the relationship menciptakan impresi, ya.
The Triadic Concept of The Bahtera Collective Script in The Learning Program with Maestro in Semiotics Perspective between form and content.
In the context of Fitriati.
, & Tussolekha.
Analisis the Bahtera script, the network was formed to Makna Tanda Semiotika pada Naskah create a reflective and educational vehicle in Drama Ayahku Pulang Karya Usmar Ismail.
BIDUK: Jurnal Pendidikan Bahasa The symbols found can show the The dan Sastra Indonesia.
: 147.
co-existence Hanifah.
Saputri.
, & Nugroho.
indicates the ethos of togetherness between .
Analisis Ikon.
Indeks, dan regions, the plurality index signifies the Simbol Semiotika Karakter Juki dalam diversity of different languages and cultures.
Naskah Sumur Tanpa Dasar Karya the ecological icon affirms the attachment of Arifin man and nature, and the materiality index Noer.
Stilistika:
Jurnal Pendidikan Bahasa dan Sastra.
: 542.
expresses the change of the view of property Jaeni.
Metode Penelitian Seni Subjektif - into a value of knowledge.
Overall this sign Interpretif Pengkajian dan Kekaryaan Seni.
layer describes the working script as a Bandung: Sunan Ambu Press.
semiotic network that can move from Kadir.
Analisis Semiotika Charles Thus, the Bahtera manuscript Sanders Peirce dalam Drama Panggoba is not only a collaborative work but also an Karya educational medium that can teach human Penelitian.
Jurnal Pengabdian Masyarakat values, diversity, and wisdom.
dan Riset Pendidikan.
: 3836.
Nasiru:
Telaah Semiotika Pierce dalam Puisi Ritual dan Doa dalam Tradisi Gendang Kepada Kawan Karya Chairil Anwar.
Beleq Studi Semiotika Komunikasi di Lombok.
Jurnal Kopula:
Penelitian Bahasa.
Sastra.
Kleden.
Jemadin.
Galus.
, &
Aminuddin.
Herdiani.
, & Dwimarwati.
Identitas Jurnal Pendidikan.
: 390.
Pendidikan.
: 5910.
Gusman Lakoro.
, & Van Gobel.
Abidin.
AZ, & Suprapto.
Dimensi Ode Kadir.
Oki.
Kueno.
Otoluwa.
BIBLIOGRAPHY