<![CDATA[This research analyzes facial character symbols in the Malangan Masked Performances in Indonesia and Hat Boi Vietnam through Roland Barthes' semiotics approach. This research aims to identify the constituent facial iconography of the characters, decode their semiotic dimensions across Roland Barthes’ triad of denotation, connotation, and myth, and comparatively analyze the characterization paradigms within both theatrical traditions. This study uses descriptive-comparative qualitative methods using literature review techniques. Data was obtained from literature, visual documentation, and previous studies containing information about colors, face shape, eyes, eyebrows, nose, mouth, beard, and supporting ornaments. The research results show that the Malangan Mask Puppet builds character through a structured physical mask with an emphasis on carvings, facial shapes, colors and ornaments such as urna, horn, jamang and sumping. Hat Boi builds character through direct makeup with more flexible color coding, eye shapes, eyebrows, and beard. At the mythical level, the Wayang Topeng Malangan displays the ideal of a Javanese man who is pious, orderly and balanced, while Hát Bội emphasizes the moral opposition between loyalty - hypocrisy, goodness - evil and straight - heresy in Vietnamese tradition.]]>
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