Nobody denies the leading role Prague Linguistic Series has played in the development of the international linguistic thinking during the 1930s and 1940s of the last century. Given that, only few people are aware of the fact that the merit of the establishment of cultural semiotics in art generally and in theater semiotics in particular goes back to them. They have tried to transfer the conceptual tools and curriculum procedures, which have been formulated to study Natural Language, other coded study systems, trying in this way to realize the dream of Ferdinand de Saussure, i.e., to come up with a holistic science of signs. This article, thus, tries to pinpoint the transfer from structural linguistics to theater semiotics, shedding light on the conditions of taking a sentence from its basic concept in the linguistic field to the theater semiotic domain. It also tries to demonstrate the pertinent role of the series’ pioneers in tracing the path that theater semiotics research would follow
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