<![CDATA[This study examines representation, spectacle, and the production of meaning in the artistic dimensions of contemporary performance through Cabik, a play written by Ibrahim Ilyas and directed by Zuhair Azka, staged at Taman Budaya Medan on July 10, 2026. The research is grounded in the researcher's direct observation of the performance as the primary empirical source to understand how artistic elements function not merely as visual support but also as media for constructing dramaturgical meaning. Employing a qualitative approach with a descriptive-interpretative method, the study draws upon participant observation, documentation, and artistic analysis of stage design, scenic setting, costumes, multimedia, lighting, and acting. The analysis is informed by Stuart Hall's theory of representation to explain the construction of meaning through systems of signs, Guy Debord's concept of the spectacle to understand visuality as a construction of aesthetic experience, and Patrice Pavis's theatre semiotics to interpret the relationships among artistic elements in shaping the performance narrative. The findings reveal that the transformation of the dramatic text into artistic performance space generates new forms of representation that expand the interpretation of the dramatic text through visual, symbolic, and performative compositions. The artistic components no longer function merely as decorative elements but operate as an integrated system of signs that simultaneously constructs emotion, conflict, and social ideas. Consequently, the spectacle in Cabik serves as an aesthetic strategy that reproduces meaning through the interaction of the actor's body, theatrical space, multimedia technology, and visual composition, creating a reflective, multidimensional theatrical experience that is highly relevant to contemporary performance discourse.]]>
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