Abstract
Wayang Beber is inseparable from the Indonesian people’s journey as they embrace the Hindu, Buddhist, and Islamic cultures. This performing art show is an embodiment of acculturation between Hinduism, Buddhism, Islam, and Javanese. Wayang Beber Kyai Remeng Mangunjaya is a type of Wayang Beber found in This article discusses how the semiotics of Roland Barthes can be used to reveal the significance of the Wayang Beber Remeng Mangunjaya. Through this study, the author examines the denotative and connotative meanings of the Wayang Beber. The results show that the denotative meanings are defined based on the puppet’s history and how the sacred Wayang Beber Remeng Mangunjaya is obtained. Contrastingly, the connotative meanings are expressed through visual and narrative terms.
 Keywords: Wayang Beber Remeng Mangunjaya, semiotics, performing arts
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