<![CDATA[This study examines how students' aesthetic reception is manifested in the transformation of three short stories by Putu Wijaya, Anjing, Darah, and Suap, into theatrical performances. Employing a qualitative approach, the study integrates literary reception theory with Gerard Genette's narratology (order, duration, and frequency) alongside perspectives on adaptation and performativity. The data consist of the original short stories, adaptation scripts, and performance documentation produced by students of the Indonesian Literature Study Program at UIN Sunan Ampel Surabaya. The findings reveal that adaptation does not constitute a direct transfer of narrative, but rather a process of aesthetic reception realized through strategies of compression, expansion, elimination, repetition, and climax displacement. These transformations reshape the narrative structures of prose into dramatic structures and convert verbal signs into performative signs expressed through dialogue, gesture, bodily movement, space, rhythm, and character interaction. Each performance reflects the students' ways of reading, interpreting, and renegotiating the meanings of Putu Wijaya's works in accordance with dramaturgical demands. The study demonstrates that students' theatrical performances constitute a concrete form of aesthetic reception as well as a pedagogical-creative practice that reveals the dynamic relationship among text, reader, medium, and the production of meaning in literary education.]]>
Copyrights © 2026
