Specific ways of forming the meaning of a dramaturgic phrase lie in its basic characteristics, its ontology. There are three stages of the formation of its meaning. The first stage is the text of the play, which in many ways determines the semantic basis of the future performance as a whole and of each single phrase in particular. The second stage is the work of a Director who, based on the text of the play, forms the overall aesthetic concept of the future performance and about the performance as a multicode entity, defines the principles of work for the specialists in such semiotic systems, as the material/object world of the stage, scenery, light, color, music, noise. The Director forms the concept of the chronotope of the virtual world of the performance and the general concept of each character for the performer. The third stage is the work of the actor, who is the key instance in shaping the meaning of the play as a whole and each of its phrases separately. The key communicative role of an actor is not described in the traditional multicode understanding, but in the aspect of space-and-time correlation of the virtual world of the performance presented on the stage, and and the social space-and-time space of the viewer. The viewer identifies himself with a particular character and simultaneously exists in two worlds: a virtual world of the play and the world of his own life. One can get acquainted with the performance in different ways, but one can watch the performance only where and when it takes place. In the system of the chronotope categories and in the system of social space the semantics of the same verb is described differently. The mandatory connection of the performance with the exact coordinates of the social space-time inevitably adds a socio-political aspect; it makes the play part of people’s life, making the theater one of the main components of the communicative environment of society, and functionally bringing it closer to traditional media.