In this essay theatre dance is being considered as a sign system. By understanding dance as a sign system which enables creativity in expression and whose main purpose is communication, analogy is being created with the help of linguistic and semiological methodology. Communication between dance stage and audience in itself holds elements which are equivalent to the elements of Jakobson's communication model. It is also possible to investigate dance functions in a similar way Jakobson investigates language functions. However, in dance performances referential function is defined mostly through conotation, while in language it is almost equivalent to denotation. While watching a dance performance, the spectator participates in a process of resemantisation: with the help of conotative power of the sign and associations, he inscribes meanings and 'fills the voids'. He can recognize a sign according to the criteria of motivation, arbitrariness and convention, but also through some specific information he received before seeing the performance and which could influence and guide his understanding of the performance itself. Beside viewing, the spectator also 'feels' the performance: through the phenomenon of kinesthetic empathy, the spectator can reproduce the sense of doing the movement himself on a sensoric level. This sensoric experience can motivate associations that are semantically close to the concepts which inspired the choreographer. Dance performances usually speak about concepts that belong to the inner world and emotional states of human being. Thus, dance serves as some kind of an instrument of thought whose purpose is orientation in the inner world.