On the basis of a study of six examples from contemporary theatre and performing arts, the essay will examine how Lotman’s concept of the semiosphere as an ecosystem covering both the space and time of performance can be applied to the environmental, economic and political aspects of the theatrical within the post-colonial and intercultural space. His notion of the semiosphere as a spatio-temporal phenomenon, a combination of different (non)verbal languages that are in constant dialogue with one another, will be used for the analysis of spatial relations and space policies within contemporary performing arts in order to discover how the act of mise en scène creates semiotic languages, which are not a simple sum of individual systems, but are characterised as a dynamic interactivity, establishing the theatrical event. The subject of the analysis will be theatrical performances as semiotic spaces of transitional forms that arise between different media, the crossing of the boundaries between the stage and the auditorium, changes in the dynamics of relations between actors and spectators within the process of creation and reception. We will link Lotman’s “theatre’s position as an intermediary between the moving and nondiscrete real world and the immobile and discrete world of the representational arts” (Lotman, Universe of the Mind) to Jacques Rancière’s notion of an emancipated spectator and Nicolas Bourriaud’s notion of translation, art as an exploration of the bonds that engulf the word and picture, time, and space. Our aim will be to research the dynamics of semiotic languages within space, the interactivity they establish within performative practice.Razprava bo na podlagi študije šestih primerov iz sodobne gledališke in uprizoritvene prakse preverjala, kako lahko Lotmanov koncept semiosfere kot ekosistema, ki zajema tako prostor kot čas predstave, okoljski in ekonomski vidik ter politično okolje, ki obdaja gledališki dogodek, uporabimo za teorijo gledališča po prostorskem obratu ter v postkolonialnem in interkulturnem okolju. Njegov pojem semiosfere kot prostorsko-časovnega fenomena, kombinacije različnih (ne) verbalnih jezikov, ki so v neprestanem dialogu drug z drugim, bomo uporabili za analizo prostorskih odnosov in politik prostora v sodobnih uprizoritvenih praksah, da bi odkrili, na kakšen način uprizarjanje ustvarja semiotične jezike, ki niso enostavna vsota posameznih znakovnih sistemov, ampak v dinamični interaktivnosti vzpostavljajo gledališki dogodek. Predmet analize bodo gledališke predstave kot semiotični prostori prehodnih oblik, ki nastajajo med različnimi mediji, prestopanja meja med odrom in avditorijem ter spremembe dinamike odnosov med igralci in gledalci v procesu kreacije in recepcije. Lotmanov »vmesni položaj gledališča med gibljivim in nediskretnim svetom realnosti ter negibljivim in diskretnim svetom upodabljajočih umetnosti« (Znotraj mislečih svetov) bomo navezali na Rancièrjev pojem emancipiranega gledalca in Bourriaudov pojem prevajanja, umetnosti kot raziskovanja vezi, ki se pletejo med besedo in sliko, časom in prostorom. Raziskali bomo dinamiko semiotičnih jezikov v prostoru, ki niso enostavna vsota posameznih znakovnih sistemov, ampak v interaktivnosti vzpostavljajo gledališki dogodek
