THEATRICAL PERFORMANCE IMIGRAN DALAM POISSON D’OR KARYA LE CLÉZIO

PARYATUN, Dr. Wening Udasmoro, M.Hum., DEA,

2011 | Tesis | S2 Sastra

Kajian ini bertujuan untuk mengungkapkan theatrical performance imigran dalam novel Poisson d’or karya Le Clézio. Konteks theatrical performance di sini berkaitan dengan beberapa hal. Pertama, usaha-usaha yang dilakukan imigran agar bisa survive di negara migrasi dengan melakukan theatrical performance. Dengan demikian, perlu diketahui mengenai bentuk-bentuk theatrical performance sebagai politik identitas imigran, yaitu usaha menunjukkan theatrical performance-nya dalam rangka beradaptasi, bernegosiasi ataukah bersifat resisten. Kedua, relasi subjek masyarakat inti dan imigran yang terjalin di dalam novel Poisson d’or. Ketiga, theatrical performance dilihat dalam konteks sosiokultural masyarakat Prancis. Penelitian ini menggunakan teori dramaturgi Erving Goffman khususnya berkaitan dengan theatrical performance. Di samping itu digunakan perspektif sastra francophone, sastra pascakolonial, dan politik identitas. Metode analisis yang digunakan adalah metode semiotika Roland Barthes yang berfokus pada mitos. Hasil penelitian menunjukkan bahwa dalam novel Poisson d’or, imigran melakukan usaha-usaha theatrical performance dengan beragam cara pada sisi front stage dan back stage. Pada ranah front stage, imigran membangun citra yang positif sebab berhadapan langsung dengan masyarakat inti dengan kode, di antaranya melalui kostum, bahasa tubuh, kematangan berpikir, identitas sebagai bangsa Afrika, penampilan, hobi, kecerdasan, gaya hidup, dan kemampuan linguistik. Pada ranah back stage, imigran menjadikan ranah ini sebagai ranah tersembunyi yang mendukung terciptanya citra positif di ruang front stage, misalnya melalui kebebasan, kata-kata hinaan, dan perasaan inferior. Relasi-relasi yang terjalin antara imigran dan masyarakat inti adalah relasi hierarkis dan setara. Pada relasi hierarkis terdapat hubungan dominan dan terdominasi antara majikan dan bawahan, relasi orang tua dan anak angkat, pengajar dan murid, dan relasi penghukum dan yang dihukum. Pada relasi setara terdapat hubungan antara sesama imigran dan relasi sesama bangsa Afrika. Pembacaan terhadap theatrical perfomance dalam konteks sosiokultural bangsa Afrika memperlihatkan bahwa theatrical performance dalam novel memiliki kesejajaran dengan theatrical performance dalam konteks sosiokultural meskipun terdapat juga ketidaksejajaran karena tidak ditemukan gejalanya di novel atau sebaliknya. Pada kondisi real, Prancis yang dalam keseharian adalah negara terpandang di dunia mengeluarkan kebijakan-kebijakan yang tidak pro-imigran, seperti pelarangan berjilbab, atau membatasi imigran dalam tim sepakbola nasional Prancis. Dengan demikian, strategi theatrical performance tersebut penting dalam rangka agar perjuangan imigran untuk memperoleh ruang (space) akan semakin terbuka dan diakui.

This study aims to reveal the theatrical performance of immigrants in Poisson d'or, a novel written by Le Clézio. The context of theatrical performance relates to several issues. First, the efforts are undertaken by immigrants to survive in the migration country by doing a theatrical performance. Therefore, it is necessary to know about the forms of theatrical performance as an immigrants’ political identity, which is an effort to show his theatrical performance in order to adapt, negotiate or resist. Second, the relations between the core community subjects and the immigrants provides in Poisson d'or. Third, theatrical performances are seen in the sociocultural context of French society. Erving Goffman dramaturgy theory is applied related to the theatrical performances. Besides, this study is also used the francophone literature perspective, postcolonial literature, and identity politics. Roland Barthes’ method of semiotics focusing on myth is as the method of analyzing data. The result of the study reveals that the immigrants make efforts of theatrical performance by doing varied ways on the side of the front stage and the back stage as well. In the front stage, the immigrants have built positive images for they are dealing directly with the core community by coding, including using costumes, body language, maturity of thought, identity as an African people, appearance, hobbies, intelligence, lifestyle, and linguistic abilities. In the back stage, the immigrants have made the back stage area as a hidden realm that supports the creation of positive images at the front stage e.g. through freedom, insulting words, and inferiority. The relations existing between the immigrants and the core society is hierarchical and equal relations. In the hierarchical relation, there are relations of the dominants and dominated people, employer and employee, parents and adopted children, teachers and pupils, and the punished and the Punisher. There is an equal relation among immigrants and African people. The reading of theatrical performance in sociocultural context of Africa nation reveals that theatrical performance in novel have the homology with theatrical performance in sociocultural context, however there is no homology because there is no such phenomenons in novel or conversely. The reality shows that France as a respected country in the world releases policies that are not pro-immigrant, such as prohibition veil wearing, or restricting the immigrants into the French national football team. Thus, theatrical performance strategy became important for immigrants in order to gain more space and to be acknowledged.

Kata Kunci : theatrical performance, semiotika mitos, sastra pascakolonial, sastra francophone, politik identitas.