ABSTRACT
In this article, I reflect on my personal journey of discovery learning and performing Topeng in Bali and France. Guided by both Western and Balinese theatre specialists such as Elisabeth Cecchi, I Gusti Aji, I Wayan Susana and Jero Dalang Ketut Sariana, I explore how I gradually integrated Balinese and non-Balinese cultural lessons into my modern theatrical practice in France. I continue to seek out creative ways of fusing Topeng with Western drama forms while staying true to the cultural logic and spiritual associations Topeng maintains for many Balinese.
