The complexity inherent in theatrical performance demands a thorough examination of the myriad semiotic sources shaping its inception, execution, and reception. This paper aims to meticulously analyze primary, secondary, and tertiary sources within the theatrical context, drawing from the scholarly insights of a theatre director.Embarking on a detailed case study inspired by interviews with mothers of young actors, this analysis begins with a scrutiny of primary sources. Rooted in personal recollections, these sources reveal a landscape where semiotic boundaries blur amidst subjective perspectives and temporal uncertainties.The playwright's task involves transforming this raw material into a cohesive narrative, imbuing each element with profound connotations and psychological insights. This transformative process yields a dynamic semiotic framework, fostering diverse interpretations. Moving to secondary sources, the playwright contextualizes initial narratives through fictional renditions, intertwining temporal epochs and societal resonances with subjunctive significances and cultural nuances.Critical textual analysis forms the tertiary layer, unraveling latent semiotic substrates. Within the realm of performance, primary sources encompass foundational precepts such as textual exploration, actor-director dynamics, and formulation of performative conventions. Secondary sources bridge individual experiences with cultural archetypes, facilitating audience engagement and comprehension.Ultimately, the aesthetic awareness cultivated within the spectator's psyche constitutes the tertiary source, culminating in a meticulous critique of the performance's semiotic resonance.This case study offers an analysis of the intricate interplay of semiotic dynamics within theatre, spanning from conception to audience reception.