Contemporary experiences highlight a crisis in representation which reveals itself through profound changes in the processes and instances at work in the postmodern/post-dramatic performance. As well at the level of production as at the one of reception, important transformations have occurred regarding action, feeling, perception of the stage, fragmentation, crisis of the body mediation, and crisis of the invariant supports of the performance. The consequences of those innovative processes are numerous: they influence the theoretical approaches, and among others the semiotic perspectives. Three types of questions about the relationship between semiotics and nowadays theatrical practices should be explored: First, the place of externality. By reconsidering the issue of the origin of meaning, as general semiotics does, the semiotics of performing arts opens the way for externalizing theories (embodiment, the study of bios/life, and theories of corporeity). Second, the issue of the researcher and in particular his or her exteriority regarding the object. This question points the demand of scientific rigor which characterizes recent research on the performing arts. A paradox which is virtually a dual injunction: the more ephemeral the object, the more imperious the need for scholarship. Although particularly relevant with regard to contemporary concerns centred on the subjectivity of the utterance (presence, effect of presence, intermediality, body–machine relations, etc.), does semiotics still have a universalizing vocation? How can one reproduce the experience of subjectivity?