It is about proposing a history of theater semiotics, from the texts outlined by Eisenstein and the Russian formalists in the early twenties, who are advancing the future semiological study of the performing arts. This theater semiotics of the first generation will be followed by the structural analysis of the performance and, at the end of the century, the study of the reception of the spectacle. The incursion of digital technologies in the stage (virtual scenographies, actor-avatar: Avactor) means a new challenge for a theatrical semiotics of the fourth generation.
