Komedie Stamboel: Modernisasi Seni Pertunjukan di Indonesia pada Akhir Abad XIX
Abstrak
Abstract
Komedie Stamboel has been associated with Eurasians and Chinese since its inception. However, Komedie Stamboel quickly transformed into the "general culture" of the Dutch East Indies. This was due to the correlation between luck, personal ambition, creativity, and community development. The troupe brought great diversity to the stage with its audiences. Komedie Stamboel became a theater in its own right that could be beyond the ownership of any particular ethnicity or race. Auguste Mahieu will always be the main character in any discussion of Komedie Stamboel. Mahieu began his studies at the famous Citizens' College in Surabaya. However, the most formative experience of this period was probably his contact with European-related arts. Komedie Stamboel had a considerable influence in the process of entering the Modern theater period in Indonesia. In fact, it can be said that the emergence of Komedie Stamboel was the first step of the modern theater period. This research article will discuss the development of Komedie Stamboel in the history of Indonesian theater.
Abstrak
Komedie Stamboel dikaitkan dengan orang-orang Eurasia dan Cina sejak awal pendiriannya. Akan tetapi, Komedie Stamboel dapat berubah menjadi "budaya umum" Hindia Belanda dengan cepat. Hal tersebut disebabkan adanya korelasi antara keberuntungan, ambisi pribadi, kreativitas, dan pengembangan masyarakat. Rombongan teater ini kemudian membawa keragaman besar di panggung pementasan dengan para penontonnya. Komedie Stamboel menjadi teater sendiri yang dapat di luar kepemilikan etnis atau ras tertentu. Auguste Mahieu akan selalu menjadi tokoh utama dalam setiap pembahasan Komedie Stamboel. Mahieu mulai belajar di Sekolah Tinggi Warga yang terkenal di Surabaya. Namun, pengalaman paling formatif dari periode ini mungkin adalah kontaknya dengan seni-seni yang berhubungan dengan Eropa. Komedie Stamboel memiliki pengaruh yang cukup besar dalam proses memasuki masa teater Modern di Indonesia. Bahkan, bisa dibilang bahwa kemunculan Komedie Stamboel menjadi langkah awal dari adanya masa teater modern. Pada artikel penelitian ini akan membahas mengenai perkembangan Komedie Stamboel di dalam sejarah per-teater-an Indonesia. Penelitian ditulis dengan melakukan studi literatur pada karya yang memiliki relevansi dengan topik yang dipilih.
Referensi
Bovene, G.A. Van. (1923). Frikkadel. Den Haag: W. P. Van Stockhum & Zoon. Croes, J. W. (n.d.). Naar en In Tropisch Nederland (Tanah Hindia).
Geerligs, H.C. Prinsen. (1935). Van Java’s Noordkust Door. Amersfoort: S.W. Melchior. Hollandia, N.V. (1930). Tjo, Een Broekje Indo-Leven. 13. P. J. D’Artillac Brill.
Nieuwenhuys, Rob. (1978). Oost-Indische spiegel Wat Nederlandse schrijvers en dichters over Indonesië hebben geschreven vanaf de eerste jaren der Compagnie tot op heden. Amsterdam: . Querido's Uitgeverij.
Artikel dan Buku
Alfalah, dkk. (2012). Jurnal Ekspresi Seni. Jurnal Ilmu Pengetahuan Dan Karya Seni ISSN: l4l2 - 1662 Volume 14, Nomor 1, Juni, hlm. 1 – 147.
Asmara, Adhy DR. (1979). Apresiasi Drama (untuk S.L.A). Yogyakarta: C.V. Nur Cahaya. Cohen, Matthew Isaac. (2006). The Komedie Stamboel: Popular Theater in Colonial Indonesia, 1891-1903. Athens: Ohio University Research in International Studies Southeast Asia Series No. 112 Ohio University Press.
Bodden, H. M. 1997. “Teater Koma's Suksesi and Indonesia's New Order”. Asian Theatre Journal, Vol. 14, No. 2 (Autumn, 1997): 59-280. University of Hawai'i Press. Diakses 13 Desember 2021 dari http://www.jstor.org/stable/1124279 .
Cohen, M. I. (2001). “On the Origin of the Komedie Stamboel Popular Culture, Colonial Society, and the Parsi Theatre Movement”. Bijdragen tot de Taal-, Land- en Volkenkunde , 2001, Vol. 157, No. 2 (2001): 313-357. Brill. Diakses 13 Desember 2021 dari https://www.jstor.org/stable/27865734
Heryanto, A. (1982). “Teater di Indonesia” dalam Jurnal Basis, Nopember 1982. Vol. 31(11).
Jedamski, D. (2008). “'... and then the lights went out and it was pitch-dark': from stamboel to tonil —theatre and the transformation of perceptions”. South East Asia Research , NOVEMBER 2008, Vol. 16, No. 3 (NOVEMBER 2008): 481-511. Taylor & Francis, Ltd. Diakses 13 Desember 2021 dari https://www.jstor.org/stable/23751013
Nurhadi. (2009). “Pementasan Teater Indonesia 2001-2005 (Analisis Rubrik Teater Majalah Tempo)”. Jurnal diksi Vol. : 16 No. (2).
Samidi. (2006). “Teater Tradisional di Surabaya 1950-1965: Relasi Masyarakat dan Rombongan Seni”. Jurnal Humaniora Vol. 18. No. 3. Hlm. 236-245.
Sidel, T. John. (2021). Republicanism, Communism, Islam: Cosmopolitan Origins of Revolution in Southeast Asia. Ithaca dan London: Cornell University Press.
Soemanto, B. (1999). “Realisme dalam Jagat Teater”. Jurnal Humaniora No (11). Mei-Agustus. Hlm. 34-51.
Stenberg, J. (2016). “A Preliminary Overview of Dutch East Indies and Indonesian "Xiqu" History and Present Practice”. Asian Theatre Journal , SPRING 2016, Vol. 33, No. 1 (SPRING 2016): 170-197. University of Hawai'i Press. Diakses 13 Desember 2021 dari https://www.jstor.org/stable/24737161
Yampolsky, P. (2013) “Three Genres of Indonesian Popular Music: Their Trajectories in the Colonial Era and After”. Asian Music, SUMMER/FALL 2013, Vol. 44, No. 2, Constructing Genre in Indonesian Popular Music: From Colonized Archipelago to Contemporary World Stage: A special issue (SUMMER/FALL 2013): 24-80. University of Texas Press. Diakses 13 Desember 2021 dari https://www.jstor.org/stable/24256932
By publishing articles in the Histma, author(s) agree to transmit the publication right to Histma under the Creative Commons. Thus, you are allowed to access, copy, transform and redistribute the articles under any lawful purposes by giving proper credit to the original author(s) and Histma as well.
Histma uphold the rights to store, convert or reformat media, manage within its database, maintain and publish article without the consent of the author with full acknowledgement of author rights as copyright owner.
The article is published in print and electronic form. The electronic form is open access for the purpose of education and research.