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This article discusses the significance of Dramaturg in performing arts. Apart from that, this article aims to look into the standardised definition which needs to be modified to define Dramaturg specifically in the context of performing arts in Malaysia. In Malaysia, the term Dramaturg is rarely used by any performing arts researchers. Researchers are more inclined to use terms such as dramatists, directors and publishers to refer to an individual who visualised performances on stages, not realising that the term ‘Dramaturg’ itself has included all fields mentioned. The limited research resources on Dramaturg in Malaysia caused the involvement of a Dramaturg not being prioritised in any performing art. Due to that, this article chose a comedian, actor, host and director known as Mohd Sabri Yunus or his stage name Sabri Yunus as a research sample in this article. The data and written information in this article were obtained from the approaches practised in G.E. Lessing Dramaturg Model and Berger Humour Theories, which focuses on qualitative analysis to process the findings of this research. The findings of this article summarised the significance of Dramaturg as a highly-impactful essence in comedy performances in Malaysia. Through this documentation, Sabri Yunus’ role as a Comedy Dramaturg can be interpreted, hence summarising the role of Dramaturg in helping to deliver values to performing arts through the issues and questions portrayed. Finally, from Dramaturgy, he will give impact on the society’s lives and social. Keyword: Dramaturg, Arthur Asa Berger Humour, Humour. Introduction This article justifies specifically on the role of a Dramaturg in comedy performances in Malaysia. The article stresses on a comedian, actor, host and director known as Sabri Yunus. As an individual International Journal of Academic Research in Business and Social Sciences Vol. 1 0 , No. 1, Jan, 2020, E-ISSN: 2222-6990 © 2020 HRMARS 163 involved in the filming industry, achieving Best Male TV Comedian award in Anugerah Seri Angkasa in the year 2005 and Popular Male Comedian award in Anugerah Bintang Popular in the years 1993, 1994, 1995, 1996 and 2000, qualifying him to be the best sample for this article. Based on the achievements, the researcher summarised specifically his role as a ‘Comedy Dramaturg’. The second purpose of this article is to use the role of a Dramaturg as highly-impactful in performances in Malaysia. In the context of this article, it is to ensure the roles of a Dramaturg in this region are accepted and on par with Western Dramaturgs such as Harley Granville Barker (November 25, 1877 – August 3, 1946), Gotthold Ephraim Lessing (January 22, 1729 February 15, 1781), Bertolt Brecht (February 10, 1898 August 14, 1956) and Kenneth Tynan (April 2, 1927 Julai 26, 1980) and a few other figures (Luckhurst, M., 2006: 2). Therefore, the debates on Dramaturgy in Malaysia needs to be developed firsthand. Hence, this article in general aims to investigate the knowledge corpus on Dramaturgy in Malaysian context. The objectives of this article include interpreting Sabri Yunus’ role as a Dramaturg in comedy performances in Malaysia and justifying the need to modify the ‘standards’ to detail the role of a Comedy Dramaturg in Malaysia. The Background of Drama and Dramaturgy By far, there are only a handful of previous research in relevance to the purpose of this article write up. Previous research on Dramaturgy is investigated comprehensively by Kerkhoven M.V (1988) who stated “ an attempt to get a little bit closer to the heart of what European Dramaturgy could possibly be at that moment, there was the matter of different artistic points of view, which could be traced in the work of leading European artists of that moment”. According to Kerkhoven, every activist in Europe has different artistic opinions. The same can be applied to the artworks from the Dramaturgs. Kerkhoven (2009) in his article, A constant movement worried about the scenario in the development of arts in Europe in that period. The mixture of neoliberal political and economical issues had caused the declining moral values in performances. The article also discussed how the roles of Dramaturgs became important. The increasing tension on the economy, politics, and social with the emergence of rules and birocracy had caused the modifications to take place. There are various research concepts on Dramaturg, where several of them are descriptive and documentative using the Dramaturg model approache as research methodology. Some examples are Library service as theatre: Using Dramaturgy to investigate attitudes to the retail and professional models of service by Cherry and Calvert (2012). The article wrote on the significance of a Dramaturg model in highlighting the attitude and behavior of librarians. It is generally known that librarians are bound with certain ethics in serving the clients. Therefore, through the article, the behavior of the librarians (referring to the chosen professional librarians as respondents in the article) were found to be different when serving the clients. In conclusion, the article analysed that every individual has various levels in attitude and behavior. It happens either consciously or unconsciously. Meanwhile, the article Giving Clients a Backstage Experience: A Case of Dramaturgical Trouble in the Professional Performance of Drug Treatment by Andersen (2011) concluded, based on the International Journal of Academic Research in Business and Social Sciences Vol. 1 0 , No. 1, Jan, 2020, E-ISSN: 2222-6990 © 2020 HRMARS 164 Dramaturgical concept in which the professionals who treat in front of the stage (the symbol of an open space) was not successful in approaching problematic teenagers, but the professionals who provide treatment plan from behind the scenes (the symbol of a favourite space or place among teenagers) was successful in changing the teenager’s problems. The application of Dramaturgical concept is written in another research entitled Althusser’s the Dramaturgy and the critique of Ideology. Balibar (2015) illustrated an ideologist which is Louis Althusser (1918-1990). Louis Althusser’s ideology contributes to a very critical ideology. Through Balibar’s explanation, Louis Althusser had conceptualised the theatrical ideology as a political agent by instilling the concept of political thinking in his theatrical performances. This is defined as ‘materialist theatres’. However, what interests the researcher is to connect Louis Althusser’s ideology with the similarities to the roles of a Dramaturg. By referring to an extract in the article written by Balibar, “The “theaters” involved here are theaters of politics, which also very much resemble theaters of war in a generalized sense” (p. 20). Louis Althusser’s ideology is referred to as something that opens the space and displays a transformation to the involvement of Dramaturgy in creating ideas for a performance. To investigate on the next previous study, through the article written Peter Eckersall (2012), he sees the important indicator owned by Kris Verdonck through the creation of his works which combine the metaphorical elements with physical materials to quality performances. Verdonck had conducted re-invention on texts and familiarised them in Verdonck’s performances. The concept developed by Verdonck can be considered as the work process of a Dramaturg. The study of the concept of dramaturgy was less involved in the production of a drama because usually the director would act as the storyteller. This study provides the opportunity to raise drama as a better guide in the production. The role of the researcher in moving the concept of a dramaturg is not to be seen as the one who triggers the whole idea. Actors need specific guidance to look at the purpose of a drama's idea so that it does not deviate from the dramaturgy concept. This study will help directors, actors, and scriptwriters for better structured guidance. The Instrumentation of the Research ‘The Role of a Comedy Dramatrug Sabri Yunus in Karoot Komedia X (KK X) For this part, qualitative method with case study is applied to obtain research data. The findings this research obtained from the answers to the unstructurised questions posed to the KK X’ performance makers. Observation was conducted on the research sample which is Sabri Yunus and the performance of KK X. The approaches in Lessing Dramaturg Model and Berger Humour Theory are also applied. Asia Dramatrugy In Asian countries like Singapore, Indonesia, Phillippines, China, Korea, Sri Lanka and India, the roles of a Dramaturg in performing arts are developing further. A lot of Dramaturg experts have knowledge and skills, operating either in groups or separately. They want to develop performance as well as strengthening their roles on a piece or collective performances. This is proven with the symposium “Asean Dramaturg Network”. This symposium was represented by Dramaturgs such as Ken Takiguchi (Singapore), Charlene Rajendran (Singapore), Alvin Tan (Singapore), Robin Loon (Singapore), Kok Heng Leun (Singapore), David Pledger (Australia), International Journal of Academic Research in Business and Social Sciences Vol. 1 0 , No. 1, Jan, 2020, E-ISSN: 2222-6990 © 2020 HRMARS 165 Lachlan Philpott (Australia), Alyson Campbell (Australia), Eko Supriyonto (Indonesia), Helly Minarti (Indonesia), Giselle Garcia (Phillippines), Li Yinan (China), Lim How Ngean (Malaysia), Max-Philip Aschenbrenner (Korea), Nanako Nakajima (Japan), Shintaro Fujii (Japan), Peter Eckersall (USA), Ruhanie Perera (Sri Lanka), Sankar Venkateswaran (India) and Yair Vardi (Israel). However, the situation is different in Malaysia. The development and understanding on the roles of a Dramaturg are still vague. From a report in Utusan Malaysia, Azman Ismail (2007) reported, “Dramaturg approach is still new in the context of performances in Malaysia, but not in Western countries”. It is clear th

The Significance of Sabri Yunus Dramaturgy in Karoot Komedia X (Kk Comedy)