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Using PaR methodology (Midgelow, 2019), the thesis attempts to articulate the epistemological knowledge of SSP from the perspective of the practitioner as an artistic-researcher and the first observer. It addresses a gap in the semiotic discourse of the performing arts posed by a lack of research on both the perspective of the practitioner and the signification strategies embodied by intermedial practices and provides new perspective and terminology for dance analysis. The thesis discusses the composition and physical action through movement notation (Eshkol, 1958-2007) and physical theatre theories (Mirodan 2015, Arendell, 2020). The analysis of the narration strategies yields a unique reconfiguration of the politics of the hybrid text, which stems from the development of distinctive sorts of enstrangement strategies. The theoretical grounding of the thesis provides a particular perspective which negotiates phenomenological perception theories (Noë, 2004; Sobchack, 2016) with semiotics and media theories (Shklovsky, 1919; McLuhan, 1964; Todorov, 1977; Auslander, 2008; Pethő, 2018; Cobley, 2021) in a complementary manner. The three main theories of different fields by Alva Noë, Marshall McLuhan and Viktor Shklovsky, used to base the argument, are consistent in terms of their philosophical attempt to explore human perception as a total phenomenon. Namely, they are all interested in the activation of perception through reflective processes (Noë, 2017: 213), which act against "automatization" (Shklovsky, 2015: 162) and "numbness" (McLuhan, 2001: 6). 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