TRANSFORMASI DALAM PEMENTASAN NASKAH DRAMA SADURAN: Studi Kasus Studiklub Teater Bandung (STB)

• Main Authors: , Lina Meilinawati Rahayu, SS., , Prof. Dr. C. Soebakdi Soemanto, S.U.
• Format: Theses and Dissertations NonPeerReviewed
• Published: [Yogyakarta] : Universitas Gadjah Mada 2011
• Subjects: ETD
• Online Access: https://repository.ugm.ac.id/91060/; http://etd.ugm.ac.id/index.php?mod=penelitian_detail&sub=PenelitianDetail&act=view&typ=html&buku_id=50166
• Institution: Universitas Gadjah Mada

This research entitled �Transformations in the Performance of Adaptation Texts: A Case Study on STB� is an attempt to analyze the transformations of texts undergoing the processes of translation, adaptation and performance. The analysis is framed by the seminal work of Elam (1980) on semiotics for theater and drama. With reference to Elam, texts and performances were semiotically analyzed to examine the socio-cultural meanings underpinning changes made by the adapter/script-writer and director. The scripts and performances under analysis were Camar, a translation by Asrul Sani from Chekov�s Chayka (Seagull), which was adapted and directed by Suyatna Anirun, and Inspektur Jenderal, a translation also by Asrul Sani from Nikolai Gogol�s Inspector General, adapted and directed by Arya Sanjaya. Findings from the comparative study from the translations to adaptations to performances indicate that there are adjustments to the local culture. Considerations for future performances of the texts were evidenced from the omission, modification, and condensation of text parts deemed as potential obstacles when performed. However, faithfulness to the atmosphere of the original text has kept the sense of foreign-ness in Chayka. Whereas a comparative study on Inspektoer Djenderal has incorporated a big portion of local culture to the performance that local culture becomes a dominant culture in the performance. Each transformation from the translations to adaptations to performances means the constructions of new meanings. Examinations of signs and its textual inner-workings suggest processes of renewing texts by imposing local cultures, in this case to foreign texts. The research also reveals that STB�s survival is attributable to the fact that they have remained faithful to realist texts with intercultural concepts. This means that they make their performance as true to daily reality as possible and as close as possible to the local culture. These two factors are eventually regarded as the attempts to make performance more easily understood by the targeted audience. The choice to do this has been carried out since the era of Suyatna Anirun, STB�s central figure, and has been maintained by his successors ever since. This is a commitment which has resulted in STB�s prevailing existence in Indonesia�s modern theatre. This is also a distinctive factor separating STB from its contemporary Indonesian modern theater groups which commonly die out when their central figure left or deceased. Based on the research, it is safe to say that the ways opted by STB could be recommended to other modern theater groups in the country as they are evidence to STB�s survival in the dynamic of Indonesian theater world.