This article first investigates the relevance of semiotics of sound within the framework of the theatrical performance. After a short historical survey, it situates the sound problem in the context of the postdramatic theater, especially related to the crisis of acting and perceiving. It suggests a typology of three modalities of sound architecture in contemporary theatrical forms. The article ends with the main questions which today have become those of the modelling of multisensorial experience and of the construction of a specific semiotics of sound.