Makna kehadiran lakon Waiting for Godot Karya Samuel Beckett di Amerika dan di Indonesia :: Suatu studi banding

SOEMANTO, C. Soebakdi, Promotor Prof.Dr. Umar Kayam

2001 | Disertasi | S3 Ilmu Sastra

Penelitian ini mencoba menjelaskan arti penting kehadiran lakon Waitingfor Godot karangan Samuel Barclay Beckett di Amerika dan di Indonesia dengan cara membandingkan munculnya lakon dimaksud di dua wilayah kebudayaan itu. Penelitian menerapkan model yang ditawarkan oleh M.H. Abrams yang intinya berangkat dari karya mengarah ke luar. Model ini kemudian dikembangkan. Diagramnya berbentuk segi tiga, dengan menempatkan lakon sebagai pusat perhatian di tengah, yang kemudian mengarah ke atas memasuki wilayah jagat pikir, ke samping kiri memasuki wilayah pengalaman Samuel Beckett sebagai pengarang dan ke arah kanan menuju ke dalam wilayah tanggapan dan pengaruh lakon yang muncul sesudah hadirnya Waitingfor Godot di Amerika dan di Indonesia. Penelitian kemudian melebar lagi ke arah wujud tanggapan dan pengaruh pada lakon yang menanggapinya, ialah The Zoo Story dan The Connection di Amerika dan Aduh di Indonesia. Penelitian kemudian melebar lagi dengan memasuki wilayah yang lebih luas ialah keadaan teater dengan kondisi politik, ekonomi dan citarasa penonton di dua wilayah kebudayaan itu pada saat lakon Waiting for Godot muncul. Hasil penelitian menunjukkan bahwa pada diagram Abrams, lakon karya Beckett menunjukkan tegangan dengan unsur tekstual, jagat pikir, pengalaman pengarangnya dan tanggapan serta pengaruhnya. Jagat pikir dimaksud adalah jagat kefilsafatan di Prancis menjelang, pada saat dan sesudah Perang Dunia 11, yang disebut eksistensialisme. Lakon Waiting for Godot menyajikan manu- Ga dalam kondisi putus asa tetapi sekaligus penuh harapan akan datangnya tokoh Godot yang tidak pernah datang. Suasana menunggu terasa kuat dalam pembacaan karena alurnya melingkar yang sekaligus mencenninkan pengalaman pengarangnya saat menantikan berakhirnya Perang Dunia 11. Tatkala lakon ini tiba di Amerika pada 1955 dan di Indonesia pada 1966, suasana dunia tengah memasuki era Perang Dingin. Hadirnya lakon itu ditanggapi oleh lakon-lakon setempat yang muncul sesudahnya dengan cara mereproduksi gayanya, ialah gaya lakon avant-garde tetapi tidak dengan aspek kefilsafatan.

This research is an attempt to describe the importance of the coming of waiting for Godot in America and in Indonesia by comparing its coming in the two cultural sites. The research was carried out by applying a model proposed by M.H. Abrams which was then, in this research, developed to meet the requirements of the objectives The shape of the diagram is a triangle in which in the center is the actual work starting from which, the research went upward into the area of the philosophical background, went leftward into the area of the author’s personal experience during the World War I1 and eventually to rightward into the area of responses of plays to Waiting for Godot and its influences reflected from the plays after it arrived in America and in Indonesia. The research then went on to a larger area by observing the responding three plays: The Zoo Sory and The Connection in America and Aduh in Indonesia. The research then went on to a more larger area by observing the state of the theatre in the two cultural sites with political and economic situations served for the background and people’s theatrical tastes when Waiting for Godot first came. The result of the research shows that by applying Abrams’s diagram, the play by Beckett demonstrated its tension among the play and the textual elements, the philosophical aspects, the personal experiences of the author and the pragmatic area in which responses were selectively exposed. What is meant by the philosophical aspects are those which are usually called the French existentialism which was popular prior to, during and after the World War 11. Waitingfor Godot then appeared to be a play of hopelessness and anxiety yet it was at the same time demonstrating hopefulness as the two characters kept waiting for never coming Godot. The never-ending waiting atmosphere was strongly felt as it was read because it is supported by the cyclical plot which at the same time hinted at the personal experience of the author when he was waiting for the end of the World War 11. When Waiting for Godot arrived in the USA in 1955 and in Indonesia 1966, the world was in the middle of the Cold War. The coming of the play in the two cultural sites was responded by plays of each site showing the reproduction of the avant-garde’s style yet its philosophical atmosphere was seemingly ignored. Its coming then, as it was responded actively by theatrical communities, showed that Waiting for Godot was something of a momentum of changes from realism convention to that of the avant-garde in both cultural sites in addition to a historical continuity of French play’s convention converted into American and Indonesian expression due to its respective cultural uniqueness.

Kata Kunci : Teater,Waiting For Godot,Lakon di Indonesia dan Amerika