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i v d a o c y m s a m u H .
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u entrie classmate in t he yea ro f
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m ,and Isendmy t hanks f o r
b M , a s i u L , li c u P , y n n e L , a i z e K , a ti P , i b e F , k i n A , a h k a S , l u s m a S , u d n a P , v o M , a e B
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S T N E T N O C F O E L B A T
E G A P E L T I
T ………... i E
G A P L A V O R P P
A ……… …. ii E
G A P E C N A T P E C C
A ………. i ii Y
T I L A N I G I R O S ’ K R O W F O T N E M E T A T
S ……….. i v I
S A K I L B U P N A U J U T E S R E P N A A T A Y N R E P R A B M E
L …... v E
G A P O T T O
M ……… … v i S
T N E M E G D E L W O N K C
A ……… v ii S
T N E T N O C F O E L B A
T ……… v ii i T
C A R T S B
A ……… …. x K
A R T S B
A ……… … xi
: I R E T P A H
C INTRODUCTION……… … 1 .
A Backgroundoft heStudy……… … 1 .
B ProblemFormulaiton……… . . 5 .
C Objecitve soft heStudy……… .. 5
.
D De ifniitono fTerm s……… … 6
: I I R E T P A H
C THEORETICALREVIEW………... 7 .
A Reviewo fRelatedStudie s……… .. 7 .
B Reviewo fRelatedTheo ire s……… … 9 .
C Theoreitca lFramework……… .... 13
: I I I R E T P A H
C METHODOLOGY……… … 15 .
A Objec toft heStudy……… ... 15 .
B Approachof theStudy………. 15 .
C Methodoft heStudy……… … 1 6
: V I R E T P A H
C ANALYSIS……….. ..… 1 8 .
A Jimmyi sPorrtayedast heProtagonisti nAc tOne……….. 1 8 .
1 Jimmy’ sCharacte irsitcs……….……… 1 8 .
a Outspoken……….. 1 9 .
b Rebelilous……… ... 23 .
2 TheMino rCharactersasJ immy’ sFoli………. . .... .. .. .. . 25 .
a JimmyComparedtoGranandMilly………. .. .. 25 .
b JimmyComparedt oSam……….. 27 .
3 Jimmy’sI mpo trancet ot hePlot………. 29 .
B Jimmyi sPorrtayedast heFalseProtagonist...……..……… … … 33 .
1 Jimmy’ sDecilningI n lfuenceint hePlot……….. 34
x i .
2 Joe’ sRea lRolei nt heStory……… . 3 7 .
a Joe’ sRolei nt heStoryi nt heSecondAc’t sFris tun it lFou trh e
n e c
S ……… 37 .
b Joe’ sRolei nt heStoryi nt heSecondAc’tsSixthunit lTenth … … … … … … … … … … … … … … … … … … … … … … e n e c
S 4 0
.
c Joe’ sRolei nt heStoryfromt heThriduntliFou trhAc t……… 4 3 .
3 TheSigni ifcanceofJ immy’ sPorrtaya la sAFalseProtagonist… … 4 9
: V R E T P A H
C CONCLUSION……… 5 5 Y
H P A R G O I L B I
B ……….. … 6 0 D
N E P P
A ICES 1 x i d n e p p
A SummaryofJ ackDavis’ sNoSugar………. 6 2 2
x i d n e p p
x T C A R T S B A
. 9 0 0 2 . O T N A Y I R D N I , N A W A I T S I R
K The Portraya l o f Jimmy a s False s
’ s i v a D k c a J n i t s i n o g a t o r
P NoSugar .Yogyaka tra :Depa trmen to fEngilsh Letters , .
3 1 0 2 , y ti s r e v i n U a m r a h D a t a n a S , s r e tt e L f o y tl u c a F
s ’ s i v a D k c a
J No Suga ri sa play tha texplored the ilving condiiton o fthe r
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A igine sduringt he1930’ sera i n Ausrtaila ,where t heAbo irgine silved a ssecond n
e z it i c s s a l
c segregatedfromsociety .Viewedf rom l tieraryperspecitve,t hi splayalso .t
s i n o g a t o r p e s l a f , m r e t y r a r e ti l d e s u y l e d i w t o n l li t s a f o e l p m a x e n a s e r u t a e f
, y a l p e h t n i s r e t c a r a h c e h t f o e n o t a h t e v o r p o t s i y d u t s s i h t f o e v it c e j b o e h T
d e s u y d u t s s i h T . t s i n o g a t o r p e s l a f a s a d e r e d i s n o c s i y m m i
J two quesiton sstated i n n
o it a l u m r o f m e l b o r p e h
t ,f rist i showJimmyi sconsidered a saprotagonis tbased on it
c a s i
h on anddialogue son t hef ris tac tand secondlyi show Jimmyi sporrtayeda sa t
s i n o g a t o r p e s l a
f ,no tast heprotagonist.
y a l p e h t s e s u y l n i a m h c i h w h c r a e s e r y r a r b il s i y d u t s e h t f o d o h t e m n e s o h c e h T
a m ir p e h T . h c r a e s e r s i h t n i e c r u o s y r a m ir p e h t s a t p ir c
s ry source i ssuppo tred by o s l a d n a r e p a p s i h t n i d e s u s e ir o e h t f o d e t s i s n o c h c i h w s e c r u o s y r a d n o c e s l a r e v e s
d u t s r e h ti e h c i h w s e i d u t s l a r e v e
s y Jack Davis’ sNo Sugar ro analyze a tex twhich e
r u t a r e ti l n i t s i n o g a t o r p e s l a f d e s
u .
c u d n o c o t d e g a n a m r e p a p s i h
T tan analysi swhich prove stha tJimmy i s d e e d n i s i y m m i J s i t s ri F . s t n e m u g r a l a r e v e s n o d e s a b t s i n o g a t o r p e s l a f a s a d e r e d i s n o c
, e n o l a t c a t s ri f e h t m o r f d e w e i v f i d n a y a l p e h t f o t c a t s ri f e h t n i r e t c a r a h c t n e n i m o r p a
e b n a c e
h considered as t he protagonis tof t he play .The second argumen tanalyze s d n a y a l p e h t f o n o it a u n it n o c e h t g n ir u d e c n a tr o p m i n i d e n e s s e l y ll a u d a r g y m m i J t a h t
s
i replaced by anothe rcharacte ra sthe leading role .The las targumen ti stha tthe t
h g ir w y a l
p prepared Jimmy f or hi srole a sa ma try rfor t he Abo irgine scause due t o a
e d c i g a rt s i
h thi nt hel as tac toft heplay ,andt heemoitonali mpacti nt heaudiencei s .r
e t c a r a h c g n i d a e l e h t s i y m m i J t a h t n o it p m u s s a e s l a f ri e h t o t e u d r e t a e r
g ti Based on
l a e r e h t t o n s i y m m i J ; s t n e m u g r a e s e h
t protagonis tbutt hef alseone.
i x K A R T S B A . 9 0 0 2 . O T N A Y I R D N I , N A W A I T S I R
K The Portraya l o f Jimmy a s False s ’ s i v a D k c a J n i t s i n o g a t o r
P NoSugar .Yogyaka tra :JurusanSasrtaIngg ir ,sFakutlas s a ti s r e v i n U , a rt s a
S SanataDharma ,2013.
a m a r
D No Suga ryang dikarang oleh Jack Davi sadalah sebuah drama yang A m u a k p u d i h i s i d n o k n a k i s p ir k s e d n e
m bo irgind iAusrtailaera1930an ,dimanakaum .t a k a r a y s a m i r a d h a s i p r e t p u d i h n a d a u d e k s a l e k k u d u d n e p h a l a d a n i g ir o b
A Diilha t
i a m a r d h a k s a n , r u t a r e ti l g n a d n a p t u d u s i r a
d n iadalah salah satu contoh penggunaan . u s l a p s i n o g a t o r p i n k a y , n a k a n u g i d k a y n a b m u l e b g n a y r u t a r e ti l h a li t s i h a u b e s m a l a d h o k o t u t a s h a l a s a w h a b n a k it k u b m e m h a l a d a i n i n a it il e n e p i r a d n a u j u T , a m a r
d Jimmy dapa t dikatakan sebaga i seorang protagoni spalsu .Peneilitan in i n a k a t a k i d t a p a d y m m i J a n a m i a g a b h a l a d a a m a tr e p , n a a y n a tr e p a u d n a k a n u g g n e m i n o g a t o r p g n a r o e s i a g a b e
s s meilha t dar i perbuatan dan perkataannya d i babak i a g a b e s n a k r a b m a g i d y m m i J a n a m i a g a b h a l a d a a u d e k n a a y n a tr e p n a d a m a tr e p . u s l a p s i n o g a t o r p a n a m i d a k a t s u p t e s ir h a l a d a i n i n a it il e n e p m a l a d n a k p a r e ti d g n a y e d o t e M a m a r d h a k s a
n adalah sumbe rpe trama .Sumbe rpe trama i n ididukung oleh beberapa ir o e t i r a d i ri d r e t g n a y a u d e k r e b m u
s -teor iyang digunakan dalam peneilitan in idan il e n e p a p a r e b e b a g u
j itan lain yang mempelajar inaskah drama No Sugar oleh Jack .r u t a r e ti l m a l a d u s l a p s i n o g a t o r p n a a n u g g n e p h o t n o c u a t a s i v a D h a l a d a y m m i J a w h a b n a k it k u b m e m g n a y t e s ir n a k u k a l e m h a l e t i n i n a it il e n e P m u g r A . n e m u g r a a p a r e b e b h e l o g n u k u d i d g n a y u s l a p s i n o g a t o r
p enpe tramaadalah d i n a d , a ti r e c m a l a d g n it n e p n a r e p r e b g n a y h o k o t g n a r o e s h a l a d a y m m i J a m a tr e p k a b a b . a ti r e c s i n o g a t o r p i a g a b e s t u b e s i d t a p a d a i d , a j a s a m a tr e p k a b a b i r a d t a h il i d a k ij r e p n a g n a li h e k i a l u m y m m i J a ti r e c n a t u j n a l e k m a l a d h a l a d a a u d e k n e m u g r
A an
. n i a l h o k o t h e l o i t n a g i d s i n o g a t o r p i a g a b e s a y n n a r e p n a d a ti r e c m a l a d a y n g n it n e p a r a d a rt u s h a l a d a r i h k a r e t n e m u g r
A mempersiapkanJimmymenjad imarit rbag ikaum a w e l n i g ir o b
A tkemaitannya d ibabakt erakhri ,dandampakemosiona lbag ipenonton b h i b e l n a k
a esa rkarena asums imereka Jimmy adalah karakte rutama d icertia. n e m u g r a n a k r a s a d r e
1
I R E T P A H C
N O I T C U D O R T N I
.
A Backgroundoft heStudy
l a n o it c if s i ti r e h t e h w , k r o w y r a r e ti l a n
I -o rno t ifcitona,lt heworkwli lconsis t .
s r e t c a r a h c f o r e b m u n a f
o A sstated by Beatyon hi sbook ,T he Norton I ntroduciton t
h g i E e r u t a r e ti L o
t h Ediiton(2002:102) ,“Characteri ssomeonewho acts ,appears ,o r y
r a r e ti l n i t r a p a g n i y a l p s a d e r r e f e r s
i work” .The character smigh tbe divided d n a , s r e t c a r a h c r o n i m e h t d n a r o j a m e h t s a t o l p e h t f o e c n a tr o p m i ri e h t o t g n i d r o c c a
y r o t s A . r e h t o h c a e h ti w t c a r e t n i s r e t c a r a h c e s o h t w o h t u o b a e v l o v e r l li w y r o t s e h t
T . y r o t s e h t e v ir d l li w t a h t t c il f n o c a e v a h o t d e e n d l u o
w herei sacharacte rorf aciton n i a m e h t s e s o p p o o h w e n o e h t s i h c i h w , t s i n o g a t n a e h t s a d e b ir c s e d s i h c i h
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a r e h t e h w t c il f n o c e h t n i r e t c a r a h c l a rt n e c e h t n i e l p o e p e r a t s i n o g a t o r P
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r o y t e i c o s f o n o it n e v n o c , s g n i h t , n o s r e p r e h t e h w , m i h t s n i a g a d e g n a r r a
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f prose ,novel ,o ra play .In t he story ,protagonist i s t he main f ocu so f ti .T he , y r o t s e h t n i r e t c a r a h c l a rt n e c e h t r o t n a tr o p m i t s o m e h t s a d e b ir c s e d s i t s i n o g a t o r p
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w d around t he protagonis’t ssrtuggle fo rreaching his/he rgoa l
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h d e obstacle son t he way. On hi sbook ,
n o it i d E h tf i F l li k S g n i d a e R l a c it i r C g n i p o l e v e
D (1999:42) , Spear s say s tha t n e e w t e b n o i s n e t a , t c il f n o c a s r e t n u o c n e o h w r e t c a r a h c n i a m e h t s i t s i n o g a t o r p “ ” . e s l e g n i h t e m o s d n a f l e s r e h r o f l e s m i h i t s i n o g a t o r p e h t e e s l li w r e d a e r e h t , k r o w y r a r e ti l f o s m r o f t n e r e f fi d y n a m n I n e l p m a x e r o f e s o r p a n I .s y a w t n e r e f fi
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c eade rhave to visuailze how the e h t w o h d n a , e c n a r a e p p a l a c i s y h p r e h / s i h w o h t u o b a , d e b ir c s e d s i t s i n o g a t o r p s i r e d a e r e h t m r o f n e tt ir w a n o e li h W . r e t c a r a h c r e h t o e h t h ti w t c a r e t n i t s i n o g a t o r p t s i n o g a t o r p e h t y lt c e ri d e e s o t e l b a n
u ’ s aciton ,andhas t oi magine ti ;on conrtasti n a a s a y lt c e ri d t s i n o g a t o r p e h t f o n o it c a e h t e e s o t e l b a e r o m e b l li w e c n e i d u a e h t y a l p l li w e c n e i d u a e h t e r o f e r e h t , e c n e i d u a e h t f o t n o r f e h t n i d e m r o f r e p e b o t t n a e m s i y a l p a e h t y b d e b ir c s e d s i t s i n o g a t o r p e h t w o h e e s y lt c e ri
d uthor ,how the protagonis t e c n a r a e p p a r e h / s i h , r e t c a r a h c r e h t o e h t h ti w t c a r e t n
i ,his/he rtone wheneve rs/he e l g g u rt s e h t e m o c r e v o o t r e d r o n i o d l li w t s i n o g a t o r p e h t t a h t s n o it c a e h t d n a , s k a e p s .l a o g e h t h c a e r o t g a t o r p a f o l a y a rt r o p l a u s u e h t e r a e s o h
T onist ;at echniquecommonlyusedby t s i n o g a t o r p a e c u d o rt n i o t s i s r e ti r w y n a
m ealry i n t he story, t his i sused to enhance e l b a s i r e d a e r e h t s a , t s i n o g a t o r p e h t d r a w o t s s e s s o p r e d a e r e h t t c a t n o c l a n o it o m e e h t h r o s i h f o g n i n n i g e b s ’t s i n o g a t o r p e h t e e s o
t e rjourney since the beginning o fthe e h / s o h w , s i t s i n o g a t o r p e h t d e b ir c s e d r o h t u a e h t w o h e e s n e h t r e d a e r e h T . y r o t
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a the reade ri sable to see his/he r f o l e v e l r a li m i s a s a h t s i n o g a t o r p e s l a f a , e r o f e r e h T . t o l p e h t g n i v o m n i n o it a v it o m
e s l a f a s i e c n e r e f fi d e h t , ’t s i n o g a t o r p l a e r ‘ e h t o t d e r a p m o c t o l p e h t o t e c n a tr o p m i
o t s e h t f o s u c o f n i a m e m o c e b r e g n o l o n s i t s i n o g a t o r
p ry a sstated by Cesa rin hi s ,
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n i a m e r t a h t t s i n o g a t o r
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r geoff alse protagonis tdeceive s a f o s tr a p w e f t s ri f e h t n i t n e n i m o r p y r e v s i t a h t r e t c a r a h c a g n i c u d o rt n i y b r e d a e r e h t
n i n i a m e r t a h t n o it a z ir e t c a r a h c r o y ti l a n o s r e p g n o rt s a h c u s s a h r e t c a r a h c e h t d n a y r o t s
e v e il e b r e d a e r e h t t a h t o s d n i m s ’ r e d a e r e h
t s that t he characte rha san i mpo tran tpar t y
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i .Unilkeaprotagonis,tt hef alseprotagonis twli lhavel esseri mpo trancei n
y a w d i m d e v o m e r e b l li w t s i n o g a t o r p e s l a f e h t y ll a u s u d n a y r o t s a f o n o it a u n it n o c e h t
t s i n o g a t o r p e s l a f e h t , t o l p e h t h g u o r h
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e offe ra new i nsigh tabout t he concep to f s
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ti rconcep t
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a i fa character i sparitcula lry given a speci ifc focu sby d
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t ency to assume tha ts/he i sthe protagonis to fthe play , .
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o f n i t s i n o g a t n
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. n e e s e b n a c t i a
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n o it a n i m ir c s i d l a i c a r r i e h t r o f t n e m n r e v o G n a il a rt s u A e h t t s n i a g a n o it c a t c e ri d s e k a t
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n i t s i n o g a t o r p g n i d a e l e h t s i d n a y r o t s e h t f o n o it a u n it n o c e h t n i e l o r t n a tr o p m i
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n i d e s u n e tf o e ti u q t o n l li t s s i t a h t m r e t y r a r e ti l a , e r u t a r e ti l n i t s i n o g a t o r p e s l a f
s i t s ri f e h T . s n o it s e u q n i a m o w t h ti w d e n r e c n o c y l n i a m s i h c r a e s e r s i h T . e r u t a r e ti l
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t t ,but t henkilledoff” .Therefore t hef alse protagonis t l a rt n e c e h t s i t s i n o g a t o r p e s l a f e h t t a h t g n i v e il e b o t e c n e i d u a e h t e v i e c e d o t d e t a e r c s i
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J No Sugar (1985 )i sa c iritque o fthe violence and cutlura l , n o i s s e s s o p s i d e h t s e r o l p x e s i v a D . m s il a i n o l o c h s it ir B y b d e s u a c n o it c u rt s e d
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l rtying to subdue any attempt sby Van o t n o it o v e d r e p u s ’ s e n i a G t s n i a g a d e n o it u a c y l g n i m e e s s i r e d a e r e h T . k c e e l K k c a b g n i h c ti w s s u s r e v , s e n i a G h ti w s y a t s e n il y r o t s e h t ,r e v e w o H . s t e d a C e h t t s e s s e n ti w r e d a e r e h t d n a , k c e e l K n a V ” o r e h y r a n o it u l o v e r “ e h t o
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D No Suga rcan be said a sa mriro ro fJack Davis’ sown lfie ,a lfie o t r e d r o n i n o it a r r o f y l e r o t g n i v a h d n a , n o it a n i m ir c s i d , p i h s d r a h f o l l u f s i h c i h w . e v i v r u s m o r f s u c o f t n e r e f fi d a s a h r e p a p s i h
T studie sabove . tI i sno tabou thow t he t u b e r u t a r e ti l s a h c u s s y a w l u f e c a e p g n i s u ’ r o s s e r p p o ‘ r i e h t t h g if o t y rt s e n i g ir o b A y r a r e ti l a s a d e s u s i y a l p s i h t n i r e t c a r a h c e h t w o h e z y l a n a o t s e ir t h c r a e s e r s i h t d a e t s n i . e c i v e
d Thi spape ranalyze t he t ex ta swha t ti i s ,no trelate i t wtih Jack Davis’s l fie s e n i g ir o b A e h t p i h s d r a h e h t d n
9
ti f y ll a u t c a y m m i J , y a l p e h t n i r e t c a r a h c a w o h d n a , t p ir c
s s the desc irpitono fa f alse f
o d a e t s n i t s i n o g a t o r
p placedi nt her oleo ftheprotagonis toft hi splay.
.
B Reviewo fRelatedTheorie s
, s n o it s e u q e h t r e w s n a o t r e d r o n
I thi spape rused some theo ires in orde rto y
l a n
a z e two main ques itons . The theo ire s are theo ire s abou t the de ifniiton o f ,
r e t c a r a h
c characte irzaiton ,mino rcharacter and foli ,protagonist ,false protagonist , .t
o l p d n a
.
1 Character
, k o o b s i h n i y d e n n e K o t g n i d r o c c
A Backpack Ltierature :An Introduciton to ,
a m a r D d n a , y r t e o P , n o it c i
F characte ri sa ifcitona lpeople ilving in the story ,a h
c aracte rmigh tbe ahisto irca lpersonwho w asreally ailve ,bu tti i sup t ot he autho r l
a n o it c if ‘ s a d i a s e b n a c t i t a h t o s y ti l a n o s r e p s ’ r e t c a r a h c e h t p o l e v e d o
t ’ .Kennedy ,
5 0 0 2
( : 91)s tates:
r o t s a s ti b a h n i o h w n o s r e p d e n i g a m i n a y l b a m u s e r p s i r e t c a r a h
C y .I tmean s
e s u a c e b y r o t s e h t p u g n i d li u b n i s u c o f l a rt n e c a s i r e t c a r a h c e h t t a h t
s e c n e u lf n i t n e m e v l o v n i ri e h
t the story .In addiiton ,mos to fltierary wrtier s e u q i n u a s a t u b e p y t o e r e t s s a t o n s u e k ir t s o h w s r e t c a r a h c e t a e r c o t t p m e tt a
.l a u d i v i d n i
.
2 Protagonis t
y l n i a m k r o w y r a r e ti l a n i y r o t s e h T . y r o t s e h t f o s u c o f n i a m e h t s i t s i n o g a t o r P
d r o w e h T . l a o g r e h / s i h h c a e r o t t s i n o g a t o r p e h t f o y e n r u o j e h t t u o b a d e n r e c n o c
e h t n i r e t c a r a h c l a rt n e c e h t r o ’ t s ri f ‘ e h t s a a m a r d k e e r G m o r f s e m o c t s i n o g a t o r p
, n a m l o H . a m a r
d (1985:355 )said t ha t“The protagonist i s t he l eading ifgure both i n
t s e r e t n i r u o t s il n e o t y ti li b a r e h r o s i h f o s m r e t n i d n a y a l p e h t n i e c n a tr o p m i f o s m r e t
f o n o it i n if e d r e h t o n A “ . e l b o n g i r o c i o r e h s i e s u a c e h t r e h t e h w , y h t a p m y s d n a
i P m o r f s i t s i n o g a t o r
p cke irng,( 1993:19 )“Protagonis,tt hel eadingo rcenrta lcharacte r s i , e c a l p t s ri f e h t n i t o l p o n e b l li w e r e h t m o h w t u o h ti w s a l a it n e s s e s i t a h t y r o t s e h t f o
, e r o m r e h tr u F . ” d e if it n e d i e b o t h g u o n e y s a e y ll a u s
u in hi sessay, In Sympathy wtih a
r a h C e v it a r r a
N cter ,Giovann istated tha tthe sympathy tow ard the protagonis t d e c n e ir e p x e r e d a e r e h t t a h t g n il e e f s e t a e r c t a h t t n e m h c a tt a l a n o it o m e e h t m o r f s e m o c
.f l e s r e h / m i h e l g g u rt s s ’t s i n o g a t o r p e h t
e t c a r a h c r e h t o d n a t s i n o g a t o r p s ’ e v it a r r a n a n e e w t e b n o it c n it s i d e h
T r shas t o
t u b , r e tt a l e h t r o f t o n t u b r e m r o f e h t r o f e v a h e w n r e c n o c e h t h ti w t s u j t o n o d
s i t a h t n r e c n o c a , l e e f d n a e v a h e w n r e c n o c e h t f o y ti l a u q e h t h ti w o s l a
s ’ r e t c a r a h c e h t f o n o it a t n e s e r p e r c i h t a p m e e h t y b d e t p m o r p n e tf o d n a d e if i d o m
e W . e c n e ir e p x
e areconcernedf ort heprotagonisti n aspecia lway,i nt heway e h t o g r e d n u o t e n o e m o s r o f e k il e b t s u m t i t a h w w o n k e w n e h w e r a e w
g n i v a h s i e h s / e h s e c n e ir e p x
e (2009:85).
r e t c a r a h c r o j a m e h t o t r a li m i s s m e e s t h g i m t s i n o g a t o r p
A , tb u the dfiference n
e e w t e
b themi st hat ,theprotagonisti sthel eading ifgure ,whichmeanst ha the/shei s e
t n e c e h
t r o fthe story and the reason the story i sable to unfold i sdue to the n
o it c a s ’t s i n o g a t o r
p .The majo rcharacter ,on the othe rhand ,i salso an impo tran t d
n a e r u g
if prominenlty involved in the con itnuaiton o fthe story bu tthe majo r s
r e t c a r a h
c are no tthe reason fo rthe creaiton o f the plot .I fthe protagonis tcan be g n it i b r o t e n a l p e h t s i r e t c a r a h c r o j a m e h t , m e t s y s r a l o s e h t n i n u s e h t s a d e z il o b m y s
/ m i
h h e ;r the majo rcharacters are i mpo tran t ifgure ,bu tnot t he cenrta l ifgure of t he .
1 1
.
3 Minorcharacterandf oli
s r e t c a r a h c r o n i m t u o b a s i r e p a p s i h t n i d e s u y r o e h t t x e n e h
T .I thelps inde ifning e
h
t protagonist i nastory-ori n t hi scasea play- ast hemino rcharacter’ spurposei n o
t s i y r o t s e h
t suppor tthe protagonis’t ssrtuggle. In Ltierature :Reading Ficiton , a
m a r D d n a , y r t e o
P ,Diyanni(2000:60 )wrotemino rcharacte ras: s
r e t c a r a h c r o j a m e h t g n it r o p p u
S si o nem roreo secondaryor mino rcharacter e r a s r e t c a r a h c r o n i M . s r e t c a r a h c r o j a m e h t e t a n i m u ll i o t y lt r a p s i n o it c n u f e s o h w
k r o w a f o g n i n n i g e b e h t m o r f e m a s e h t n i a m e r y e h t : g n i g n a h c n u d n a c it a t s n e tf o
. d n e e h t o t
s i r e t c a r a h c r o n i m e h t f o n o it c n u f r e h t o n a , e c n a d i u g r o s e c i v d a g n i v i g s e d i s e B
e h t r o r e d a e r e h t f o s e y e e h t n i d e t a n i m u ll i e r o m s i t s i n o g a t o r p e h t t a h t e r u s e k a m o t
r o r o h t u a e h t o s , e c n e i d u
a playw irgh tusually depicts them wtih a conrtasitng y
ti l a n o s r e
p o r rtati t o t he protagonist .In l tierary term ti i snamed foli ,a sstated by k
o o b s i h n o e r y F p o r h tr o
N Anatomy o fC iritcism :Fou rEssay s(1957:180) a s“A l a p i c n ir p e h t f o e s o h t o t t s a rt n o c t c e ri d n i e r a s ti a rt e s o h w r e t c a r a h c a s i li o f r e t c a r a h c
” .t s i n o g a t o r p e h t f o s ti a rt e h t s t h g il h g i h e r o f e r e h t li o f e h T . r e t c a r a h c
.
4 FalseProtagonist
f o s m r e t n i t s i n o g a t o r p a m o r f t n e r e f fi d s i t s i n o g a t o r p e s l a f
A the false
s a d e c u d o rt n i s i t s i n o g a t o r p e s l a f A . e l o h w a s a y r o t s e h t o t e c n a tr o p m i s ’t s i n o g a t o r p
t u b y r o t s e h t f o g n i n n i g e b e h t n i t s i n o g a t o r p
a in t heconitnuaiton oft heplay ,his/he r s
i t o l p e h t o t e c n a tr o p m
i reducedand anothe rcharacte rwill takehis/he rplace. I n hi s ,
y a s s
e Narratology ,Cesa rde ifnes i ta s
e h t t a '' t s i n o g a t o r p '' a s a d e c u d o rt n i s i o h w r e t c a r a h c a s i t s i n o g a t o r P e s l a F
. h g u o r h t y a w fl a h ) d e ll i k , y ll a m r o n ( d e v o m e r t u b y r o t s e h t f o g n i n n i g e b
l a s a w h c i h w , r e t c a r a h c r o n i m r o r o j a m r e h t o n
A so inrtoduced ea lry in the .
y r o t s e h t s e t e l p m o c d n a e c a l p r e h / s i h s e k a t n e h t , e v it a r r a
n (2008 1; 1)
.
5 Characteriza iton
e n if e d o t e l b a e b o t r e d r o n
I theprotagonist i naplay ,a t heoryabou thow t he r
o h t u a e h t y b d e z ir e t c a r a h c s i r e t c a r a h
c andi ntendedt obet heprotagonisti nt heplay d
e d e e n s
i .According to Halten ,(1967: 71 -18 )there are fou rway so fwhich a .
d e y a rt r o p e b n a c r e t c a r a h
c The porrtaya l o f a characte r h s elp in ifnding the .t
s i n o g a t o r p a f o n o it i n if e d e h t n o d e s a b y a l p e h t n o t s i n o g a t o r p
e t a i d e m m i n a e v i g s e it il a u q l a c i s y h p s 'r o t c a e h t e c n i s , e c n a r a e p p a y b , t s ri F
e c n e i d u a e h t o t s u l u m it s
s i h , n o s r e p e h t y b d e y o l p m e e g a u g n a l f o d n i k e h t r o f , h c e e p s y b , d n o c e S
d n a e t a r , h c ti p , n r e tt a p n o it c e lf n i s i h , y ti l a u q e c i o v s i h , g n i k a e p s f o r e n n a m
, y ti l a ti v l a r e n e g
r e n n i s i h o t s e u l c e v a h e w s n o it c a l a n r e t x e s 'r e t c a r a h c a h g u o r h t , d ri h T
s n o it a v it o m
o t y e k e h t t e s o t t h g ir w y a l p e h t r o f s i ,r e v e w o h , e c it c a r p l a u s u e r o m e h
T a
h c i h w n i y a w e h t d n a r e t c a r a h c a t u o b a y a s s r e h t o t e s t u o e h t m o r f r e t c a r a h c
r a e p p a y a m e h e r o f e b n o i n i p o n a m r o f o t n i g e b y a m e w , m i h o t t c a e r y e h t
. 6 P lot
s i t a h t t s i n o g a t o r p f o n o it i n if e d e h t n o d e s a
B the cenrta lcharacter i n drama , i
t o l p f o y r o e h
t sneededsot ha ti tcanbe ifguredou tthatt heprotagonis tshouldbet he d e m u s s a e h t s a g n i n n i g e b e h t n i t s u j t o n , a m a r d e l o h w e h t n i r e t c a r a h c g n i d a e l
n i t s i n o g a t o r
p NoSugar ,Jimmyi s .Aploti ndramai sde ifnedbyScholesi nhi sbook ,
a m a r D n i s t n e m e l
3 1
, d e g n a r r a d n a d e t c e l e s y l e t a r e b il e d , s t n e v e f o m e t s y s d e t c e n n o c r e t n i y ll o h w a
ll if l u f o t r e d r o n
i a complexse to fdramaitcpurpose sandtheat irca lcondiiton , o d lr o w e v it a n i g a m i e h t n i e c a l p s e k a t h c i h w g n i h t y r e v e s e s ir p m o c t
i fthe
d lr o w e h t f o n o it a ti m i t n e r e h o c a e t a e r c t s u m s t n e v e f o y ti l a t o t e h t d n A . y a l p
) 2 6 : 1 7 9 1 (
i , e v o b a y r o e h t e h t n o d e s a
B tcanbei nferredt hatt heploti nadramai silnked , s
e n e c s s u o i v e r p e h t f o m r e t n
i in lfuenced howt he nex tsceneunfold .The playw irgh t t
o l p e h t g n i p o l e v e d f o e l o r e h t s a h h c i h w r e t c a r a h c a d e c a l p n e h
t - the protagonist- , , k o o b s i h n i n o s p m o h T . n o i s u l c n o c s ti o t n i y a l p e h t f o t o l p e h t e v ir d l li w h c i h
w The
a m a r D f o y m o t a n
A (1946 ,)f u trhe rexplainedi tas:
t a h t t o l p a d n a , o r e h r o t s i n o g a t o r p a s e ri u q e r y a l p a e l u r l a r e n e g a s A
d e t a l e r y ll a s u a c f o s e ir e s r o n o it c a n a , n o i s u l c n o c o t n i g ir o m o r f , s p o l e v e d
.t s i n o g a t o r p s i h t n i g n ir e t n e c s n o it c
a (1946:6)
.
C Theore itca lFramework
s i r e t c a r a h c t u o b a y r o e h t , y r o e h t t s ri f e h
T used t o give de ifniiton and as t he g
n i z y l a n a f o d n u o r g k c a
b the ifcitona lpeople which i s depicted in thi sdrama .The n
o it a z ir e t c a r a h c f o y r o e h
t helps in analyzing the aciton and the dialogue o fthe n
i r e t c a r a h
c No Sugar ,as t hi spape raims t o ifnd t he paritcula rquail ites i n Jimmy’ s i
y ll a u s u t a h t r e t c a r a h
c sassociated wtih a protagonis tby analyzing how Jimmy si ,
d e z ir e t c a r a h
c mainly by hi sspeech and aciton ,i tcan be proved tha tJimmycan be d
e m u s s
a a stheprotagonistbasedonhi sacitoni nt hef ris tac toft heplayalone . s
i y r o e h t s i h T . t s i n o g a t o r p t u o b a s i t x e n e h
T used to givet he meaning of t he ’
t s i n o g a t o r p ‘ m r e
t tha ti sleading characte rin a play whom the audience i sable to e
h t n o d e s a b e z i n g o c e
r character’ simpo trance in the play and also having the c
it s ir e t c a r a h c g n i n if e
d s comparedt ot heothe rsupporitngcharacter .Ini dentfiyingt he
n o it a z ir e t c a r a h c f o y r o e h t e h t e s u r e p a p s i h t ,t s i n o g a t o r
p basedo fhis/he rporrtaya lon .
e g a t s e h
t Thet heoryabou tmino rcharacter sandf oi lareusedfo rhelpingtheproces s h ti w d e t s a rt n o c s i h c i h w s e s s e s s o p t s i n o g a t o r p e h t s c it s ir e t c a r a h c e h t g n i z i n g o c e r f o
.l i o f s i h s a d e t c a t a h t r e t c a r a h c r o n i m e h t
r e h t o e h
T theoryi saboutf alseprotagonis,tt hi stheoryi sused t oanalyzehow y
a l p e h t n i t s i n o g a t o r p d e m u s s a e h
t tha ti sthe characte ro fJimmy i sactually no t e h t n i e c n a tr o p m i g n i n il c e d s i h o t e u d t s i n o g a t o r p s a d e n if e d e b o t e l b a g n i e b
y a l p e h t f o e l o r g n i d a e l e h t t a h t d n a , s e n e c s g n i w o ll o
f NoSugarint henextf ewactsi s r
e t c a r a h c r e h t o n a o t d e v o
m .The las ttheory ,plo ti sused to suppor tthe previou s t
s i n o g a t o r p e s l a f f o y r o e h
t ,a sa protagonis ti ssupposed to be the one who i s t
o l p e h t r o f e l b i s n o p s e
r unit lthe ending ,bu ti fthe supposed protagonis ti sa false e
h / s , t s i n o g a t o r
p i sonly used ast he d irving f orce i n t heplot i n t he beginning ,whlie e
c a l p e r r e t c a r a h c r e h t o n
a s ther oleo fprotagonisti nt heconitnuaiton oft heplayunit l g
n i d n e s
5 1
I I I R E T P A H C
Y G O L O D O H T E M
.
A Objec toft heStudy
r a g u S o
N i san Ausrtailan play w irtten by Jack Davi sin 1986 .I twa sfris t f o l a v it s e F 5 8 9 1 n i d e m r o f r e p t s ri f d n a 6 8 9 1 n i d t L , y t P s s e r P y c n e r r u C y b d e h s il b u p
; h tr e
P oN Suga rproved a sell- to u succes sand received a standing ovaiton from ti s .s
t c A r u o F f o s t s i s n o c y a l p s i h T . e c n e i d u
a Thi spape rusedt he1stediitonoft heplay.
f o y r o t s e h
T No Suga ri sabout t he srtuggle o fAbo irgine ssrtuggilng agains t n i s i y a l p e h t n i s u c o f e h T . t n e m n r e v o g l a c o l e h t m o r f d e c a f y e h t t n e m t a e rt r i a f n u e h t
e h
t famliy named Mliilmura whom faced hardship i n t he form fo ilmtied raiton fo r e
v il y li a d r i e h t g n i n i a t s u
s andbyt hedisrespec toft hel oca lAusrtailanauthortiywho s
t s e p s a m e h t d e w e i
v .A tfe rbeing accusedo fcarryingdisease,t he wholef amliyhad s e n i g ir o b A n a f o t h g il p e h T . r e v i R e r o o M n i t n e m e lt t e s w e n e h t n i d e t a c o l e r e b o t
. y r o t s e h t n i t c il f n o c r e h t o n a s i r e v i R e r o o M m o r f e p a c s e r e h d n a n a m o w
.
B Approachoft heStudy
, k o o b s i h n
I A Handbook to Ltierature (1985 ,316) ,Holman de ifne sNew s
a y r o e h t m s i c it ir C
n i t c e j b o n a s a t r a f o k r o w e h t n o s e t a rt n e c n o c t a h t m s i c it ir c f o y d o b e l o h W
fl e s
ti ; ifndsi n i ta specia lkind of l anguage opposed t o – o rat l eas tdfiferen t m
o r
f – the language sofscience o rphliosophy ; and subject s i tto close s
i s y l a n a
e c n e u lf n i r e h t o y n a t u o h ti w , s i ti t a h w s a t x e t e h t n o d e s u c o f m s i c it ir C w e N
s r e h / m i h r o h t u a e h t m o r f r e h ti
e el f i(ntenitonalf a llacy )o rwhatt her eader smigh thave d n a t x e t e h t , m s i c it ir C w e N n i t a h t d i a s e b n a c t i e r o f e r e h T . ) y c a ll a f e v it c e f f a ( k n i h t
y l n o s i s u c o f e h t o s , d e z y l a n a e b o t g n i h t t n a tr o p m i t s o m e h t e r a s t n e m e l e c i s n ir t n i s ti
e g n a c e w , t x e t e h t n
o tdeepe runderstanding on t he t ex tby closelyreadingt he t ex t .
e c n e u lf n i e d i s t u o t u o h ti w n e v e
e h t f o s u c o f e h t o t e u d r e p a p e h t n i h c a o r p p a e h t s a n e s o h c s i m s i c it ir c s i h T
e t c a r a h c a s a h c i h w t s i n o g a t o r p e s l a f a s a y m m i J f o l a y a rt r o p e h t t u o b a r e p a
p ,rJ immy
y a l p e h t n i s t n e m e l e c i s n ir t n i e h t s
i No Sugar .By using New C iritcism ,thi spape r e h t w o h d n a t s r e d n u r e tt e b o t fl e s ti t x e t e h t n i y l n o h c r a e s e r e h t f o e p o c s e h t d e ti m il
t h g ir w y a l
p usedf alseprotagonis ta sal tierarydevicei nt heplay .Therearenooutside t
a h t e c n e r e f e
r i sused in thi sapproach ,so the pape rfocused only on the int irnsic ’
s i v a D k c a J n i r e t c a r a h c s i t a h t ,s t n e m e l
e NoSugar
.
C Methodoft heStudy
s i h c r a e s e r y r a r b i L . m e l b o r p e h t g n i z y l a n a n i h c r a e s e r y r a r b il d e s u r e p a p s i h T
e h t tr o p p u s o t s e ir o e h t d n if o t s e c n e r e f e r r e h t o d n a s k o o b m o r f n o it a m r o f n i g n ir e h t a g
y a l p e h t s i e c r u o s y r a m ir p e h T . r e p a p s i h t n i t n e m u g r
a NoSuga rbyJackDavi stisefl . n
a n
I alyzing t heplay,t here are some step sdone .Frist i s t o answert hef ris tproblem d
e s o p p u s s i y m m i J w o h t u o b a n o it a l u m r o
f to be apo trraya loft he protagonis tbased .t
c a t s ri f n o n o it a z ir e t c a r a h c s i h n
o Ther esearchf ocusedonJimmy’ scharacte irzaiton p
m o
c ared to the othe rmembe ro fhi sfamliy so tha ti tcan be assumed tha the i s y
a l p e h t n o t s i n o g a t o r p e h t e b o t d e s o p p u
7 1
s i h o s l a d n
a r oleind irvingt heplo tof t hestory.Thenex tstep ,answe irngthesecond y
l n i a m s i n o it a l u m r o f m e l b o r
p to show tha t the answe r o f the fris t problem s
i n o it a l u m r o
f Jimmy i sactually no ta protagonist ,bu ta false protagonist .The e
z y l a n a h c r a e s e
r s Jimmy’s i mpo trance andr elevance t ot hestorya stheharbinge ro f e
h
t conitnuaiton of t he plo tof t he play ,and to discover t ha tanothe rassumed mino r y a l p e h t f o t s i n o g a t o r p e h t s a m i h e c a l p e r ll i w y a l p e h t f o g n i n n i g e b e h t n i r e t c a r a h c
s
a iss tatedi nthet heoryoff alseprotagonist.
8 1
R E T P A H
C I V
S I S Y L A N A
e h t d e s u y l n i a m h c r a e s e r s i h t , n o it a l u m r o f m e l b o r p o w t e h t g n ir e w s n a n I
t s ri f e h T . t s i n o g a t o r p e s l a f d n a t s i n o g a t o r p t u o b a y r o e h t d e t c e n n o c r e t n
i quesiton
d e n r e c n o
c abou tunderstanding tha tJimmy’ scharacte ri sassumed a sthe leading d
n o c e s e h T . r e t c a r a h
c quesiton focuses abou tJimmy’ srole a sfalse protagonist , y
a l p e h t f o t s i n o g a t o r p l a e r e h t y fi t n e d
i and how the rea lprotagonis ti ssublty s
a e l o r s ’ y m m i J d e c a l p e
r the cenrta lcharacte rand l aslty, i dentfiyt he signi ifcance o f .t
s i n o g a t o r p e s l a f a s a y m m i J
.
A Jimmyi sAssumedast heProtagonisti nt heFirs tAct
r e t p a h c b u s s i h
T i sdivided i nto t hree secitons ,frist i sde ifning Jimmy’ smos t ,
n o it a z ir e t c a r a h c t n e n i m o r
p and secondly by analyzing the purpose o fthe mino r y ti l a n o s r e p s ’ y m m i J e t a n i m u ll i e r o m o t r e d r o n i l i o f s i h s a d e t c a t a h t s r e t c a r a h c
e z y l a n a h c r a e s e r s i h t , y lt s a l d n a , e r o f e b d e n o it n e
m s Jimmy’ scharacteri n t ermo fhi s f
o t o l p e h t g n i v ir d f o e c n a tr o p m
i NoSug a .r
.
1 Jimmy’ sCharacteris itcs
t a h t s e u g r a r e p a p s i h
T byr eadingthe sc irp tonlyon tisf ris tac tJimmycanbe ,
t a h t e v o r p o t d n a , t s i n o g a t o r p e h t s a d e m u s s
a at hroughou tunderstandingo fJimmy’ s .
d e d e e n s i y ti l a n o s r e
p A tfe r ifndinghi sde ifningcharacteirsitcs, t hi spape rconnected m
e h
9 1
(2009:85 ) which stated tha t the audience i s able to have a greate r emoitona l s
r e t c a r a h c r e h t o e h t o t d e r a p m o c t s i n o g a t o r p e h t h ti w t n e m h c a tt
a tobeablet oi dentfiy t
s i n o g a t o r p e h t s a y m m i
J .In analyzing Jimmy’ scharacte irzaitons ,thi spape rused e
l b a c il p p a e r o m s i h c i h w n o it a z ir e t c a r a h c f o y r o e h t s ’ n e lt a
H in analyzing a drama n
o it a z ir e t c a r a h c s ’ y m m i J . t x e
t i smainly shown in hi sdialogues ,abou tthe way he l a c i s y h p o n e r e h w t p ir c s y a l p e h t d e s u r e p a p s i h t s a n o o s d n a e g a u g n a l , s k a e p s
s ’ y m m i J . d n u o f e b n a c y m m i J f o n o it p ir c s e
d characte irzaiton i salso shown in hi s .
e g a t s n o s e r u t s e g s i h d n a s n o it c a
g n i n if e d t s o m o w t e r a e r e h
T characte irs itcs abou tJimmy’ scharacter ,those :
e r a
.
a Outspoken
Thi ssideo fJimmy’ spersonaltiyha sbeen showneve rsince t hef ris tscene o f
.r a g u S o
N Thef ris tscenei nt hebeginningseemed t odeceive t heaudienceaboutt he e r a s e u g o l a i d s ’ y m m i J . p m a c s e n i g ir o b A e h t n i e r e h p s o m t a l u f e c a e p y l g n i m e e s
g n i e b e r a s e n i g ir o b A e h t t a h t s i h t u rt e h t ; n o it p e c r e p e s l a f s i h t r e tt a h s o t d e d n e t n i
o n i m s a d e t a g u j b u
s rtiy by t he governmen to fAus rtaila .This i sa foreshadowing fo r e h t n i d n a , s e it ir o h t u a e h t y b d e s s e r p p o y ll a u t c a e r a s e n i g ir o b A e h t , e m o c o t s g n i h t
d e ti m il e h t , n o i s s e r p p o e h t e e s r e h tr u f l li w e c n e i d u a e h t y r o t s e h t f o n o it a u n it n o c
h p n e v e d n a , g n i n o it a
r ysica labuse. W
. E O
J ereas teadfas tperformanceo fdutyi nt hef aceo fdfi ifcutlyand , d e c a f y e h t r e g n a d e h t f o r e d n i m e r a s a w m e h t h ti W . r e g n a d
, s e n i g ir o b A .. s e n i g ir o b A g n i y r r a c … s e ir r o l e e r h t e h t f o e p a h s e h t n i
s s a r b a o t g n i c n a d y l s u o u r g n o c n
i -ba nd. .
M A
S Koorawoorung!Nyoongahscorroborrein’t oawejtala’ sbras sband!
. Y M M I
J :Ah !Tha tbeat severythin’s tupidbloodyblackfellas! m
e h t y h w w o n k u o y , s a ll e f u o
Y wejtalas marchin ’down the srteet , r
u o k o o t d r a t s a b m e h t e s u a C , y h w u o y l l e t ll ’I ? h
e counrty k
c a l b m e h t d n
a fellasdancin’f o rem ,bastard( Davis ,1986:15- 61 ) r
e b m e m e h t g n o m
A s of t he Mliilmura ,even among t he adutls ,Jimmyi s t he t h g ir g n il e e f s i e h r e v e t a h w g n it a t s f o d i a r f a n u y l n o t o N . m e h t f o n e k o p s t u o t s o m
s i h g n i n i m r e t e d n i t c e p s a t n e n i m o r p a o s l a s i e g a u g n a l f o e g a s u s i h , w o
n personaltiy . y
m m i
J prominenlty used swea rword stha ti sconsidered vulga ra shi schoice o f e
n o t l u d a e h t n e v e , y li m a f s i h f o s r e b m e m r e h t o e h t s a e r e h w d n a , e g a u g n a
l s speaki n
a n i k a e p s e h t a h t e t a c i d n i h c i h w s e u g o l a i d f o t o l a s a h y m m i J , e n o t d e v r e s e r e r o m a
f n i , e n o t g n i s ir d n a e c i o v r e d u o
l orm o fquesitoning and shouitng compared to the .
y li m a f s i h f o s r e b m e m r e h t o
. Y M M I
J Yeah ,fuckin ’gubment .Fuck severybody up ;everybody ,eh? Eh? d
e w o ll a u o
Y towalkdownt hes rtee ta tfers undown?Eh? .
K N A R
F Yeah ,don t’s eewhyno.t .
Y M M I
J Wel l ’Im not .Noneo fu sare ;You know we’re no tallowed tit own , ?
… h c r a m o t d e w o ll a t o n , k a o s e h t n w o d o g o t d e w o ll a t o n
(He mime shandcuff sand gao lby ifrs tputitng hi swristst ogethe rand e
h t h ti w d a e h e r o f s i h r e v o s d r a w n w o d d n a h a g n i c a l p n e h
t
). s e y e s i h r e v o d a e r p s s r e g n if
(Davis ,1986:28)
g n i w o h s f o m r o f n i y ti l a n o s r e p n e k o p s t u o s ’ y m m i J f o e r o m g n i w o h s s e d i s e B
r e n n a m s i h n i d n a d e c a f s e n i g ir o b A e h t n o it i d n o c e u rt e h t n o d e s a b f e il e b l a n o s r e p s i h
f o t c e p s a l a c ir t a e h t e h t s w o h s o s l a e n e c s d ri h t
