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The puppeteer of wayang topeng (wayang : puppet, topeng : mask) in Malang has a stronger aesthetic power orientation compared with other puppeteers. Aesthetic knowledge is gained through experience of art, interaction that is built from social and environmental existence. The existence forms a comprehensive capability of the puppeteer of wayang topeng in Malang. The application of the aesthetic knowledge of the puppeteer becomes a symbol of power of wayang topeng show that has high quality of expression and creations. The flat-screen performance format also makes the thought of puppeteer present the show in accordance with aesthetic sense of audience and producer. This study aimed at describing the aesthetic knowledge of Wayang Topeng in Malang, identifying the aesthetic power within Wayang Topeng in Malang, and analyzing the aesthetic power resulted in Wayang Topeng performance in the Tale of Panji Reni using flat screen stage set. This qualitative research used interview and observation data which is analyzed by using interpretation. Research method for this study was art phenomenology. The study of aesthetic power used interview and observation data of wayang topeng show in Malang, East Java. Results of research: 1. Description of aesthetic knowledge of puppeteer of wayang topeng in Malang; 2. Description of aesthetic power of puppeteer in transforming wayang topeng show in the story of Panji Reni in flat screen format.