SUMMARY
In its work, semiotics is linked to the rule of the existence of a sender, a receiver, and a code that is subject to the limits of law, controls, and the process of sending and receiving. Transforming constructivism during the presentation, the actor with his movements that he performs and that changes from one moment to another is capable of producing a set of signs and signs that are capable of development and the production of different meanings through the process of stability and consolidation of the signal, which works to give the form different meanings.The methodological framework and content: The research problem: It resulted in the following question: Can the actor's body be able to build a semiotic system through its performance relationship with the scenography elements?The importance of research and the need for it, the aim of the research, the limits of the research:Definition of terms: The researcher touched on defining the following terms: semiotics, the body, the semiotics of the body, space.Theoretical framework: The first topic: the semiotics of the body, and the second topic came: the scenography space, and concluded with the results of the theoretical framework in terms of indicators.Research procedures: the research community, the research sample, the research tool, the research methodology, and then the analysis of the research sample, which was represented by an oil slick play.Chapter Four: Results, conclusions, and a list of research sources and reviews