There is no question, in these few pages, of presenting methods of semiotic analysis applied to the theatre or even of completely describing a performance and its structural principles. Rather, beginning with some theoretical concepts and a montage of photographs we simply would like to develop some thoughts on a performance and its semiotic analysis and to try to find a middle ground between concrete description and abstract semiotic theory: an approach, therefore, determinedly practical and theoretical that could contribute to a new phase of theatrical semiotics. Following some indispensible epistomological reflections on the justification of an approach derived from linguistics and structuralism, and following the examination of general models of theatrical functioning, it is imperative that the facts and the hypotheses be verified by comparison with precise analyses and practical observations of theatrical production.