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inherent in scenography. According to Jain (2023) scenography practices relate the empty space to its use,
its expressive characteristics, and the message it portrays. It does this by incorporating a variety of
disciplines, including visual arts and literature, to draw conclusions and create space that analyzes social
and spatial contextualities. These activities are made possible by taking into account the users' roles as
actors, spectators, and inhibitors (p. 9). Based on the preceding discourse regarding scenography and the
process of set design, the findings indicate that numerous facets are implicated in the conceptual process
that includes the interpretation of space and the utilization of symbolic metaphors. However, it is worth
noting that certain supplementary variables, such as time, cost, and human resources, were not taken into
consideration.

Methodology
Practice-based research refers to the most effective methodology for ascertaining the specific
attributes pertaining to the mobility and adaptability of this touring theatre show. According to Skains
(2018), the term "practice" in research encompasses a broad spectrum of activities, spanning from artistic
endeavors to analytical pursuits. Practice-related research is commonly referred to using several
terminologies in the literature. These phrases include "arts-based research," "practice-based research,"
"practice-led research," "practice-centered research," "studio-based research," and "practice-led
research”. In contract, practice-led research is a theoretical framework that encompasses various
terminologies, allowing researchers to integrate their creative activity, techniques, and output into the
design of their study and as a constituent of their research findings (LibGuides: Research Methodologies
for the Creative Arts & Humanities: Practice-based & Practice-led Research, n.d.). As stated by Smith and
Dean (2009), the term "practice-led research" and its related concepts, such as practice-based research
and practice as research, are utilized to present two arguments regarding the role of practice in the realm
of research. Firstly, it is argued that creative work in and of itself constitutes a form of research and
produces tangible research outcomes. Secondly, it is proposed that the training, specialized knowledge,
and artistic processes employed by creative practitioners during the creation of art can lead to unique
research insights that can subsequently be generalized and documented as research. The initial argument
places significant emphasis on the inherent value of creative practice, but the subsequent argument
underscores the potential for artists to gain insights, engage in conceptualization, and develop theories
through the process of reflecting about and documenting their own creative practice. (p. 5). Hence, the
theatrical creative project Kopiah Putih & Gincu employed a practice-based research methodology,
wherein a creative artifact or performance served as the foundation for generating and analyzing research
data and material. This approach encompassed the entire production process, including the exploration
of TEXT, RESEARCH, IDEAS, EXECUTION, REHEARSAL, and ultimately, PERFORMANCE.

The text or script of Kopiah Putih & Gincu has undergone a textual analysis approach. The process
of set design development involves the exploration of research and ideas, leading to the execution of
constructing and preparing the set environment. Both rehearsal and performance are systematically
recorded in order to authenticate the results. Finally, the utilization of reflexivity analysis involves
examining the creative process and judgement the practice experience by documenting the performance
making activity of the Kopiah Putih & Gincu set design. As Lazard and McAvoy (2020, p. 177) argue through
their reflexive process questions “what is the research process and how am I influencing it?”.

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