In the 1950s, in Paris, three playwrights of non-French origin, Samuel Beckett, Eugene Ionesco, and Arthur Adamov, presented their first works and, at once, were seen as revolutionary inovators. They ignored traditional theatrical practices and began to create the framework for a new theater. Despite the fact that Ionesco and Beckett have gained fame for their plays, the works of Adamov have never received the same attention, and even today Arthur Adamov's works remain less well known Although a theatrical text can be considered apart from its production on stage, such a study can only deal with a text stripped of its theatrical specificity, or, at the very least, distorted by the critical perspective. For this reason, writers and researchers of the last fifteen years have suggested a semiotic interpretation. This will constitute the approach used in this study of one of the dramatic texts of Arthur Adamov: Le Printemps 71 In any theatrical work, either presented on stage or read in the written text, we are presented with a semiotic system, of which the diverse linguistic and non-lingusitic references of which must be discovered and recognized. We are going to give particular attention to the extremely long and precise stage directions, and to the real contents of the dialogues and of the text of transitions as well involved with the play, which will allow us to see the adamovian characters appear as a semiotic ensemble. That is, they are conceived as a grouping of signs to be related to all other groupings of signs in the scriptural and visual construct of the author. Then an axiological analysis through the actantial matrices will show the correlations existing between subjects (real or symbols) and objects surrounding them. Starting from the surface of the text, we will reach the core of the play and discover the ethical and historical values of Printemps 71. Thus, thanks to the ideological signification of the playwright's dialogues, some conclusions will be drawn from this study concerning the relative failure of Arthur Adamov's theater