This research focuses on the modes of production and reception of theatricality in contemporary performative practices with aesthetic purposes. Specifically, the research examines practices which – within performatic ecosystems – plan the action through strategies and devices for the theatricalisation of the event based on co-participatory immersive models, affecting the spectator’s semiocognitive mechanisms of interpretation. The concept of performatic ecosystems enables the pertinentization of the different semiotic formations that emerge from the performative continuum of the semiosphere, grasping the ecological and evolutionary relationships that are established diachronically among theatrical forms. Thereby, transformations are mostly grasped, yielding to semiotic analysis a dynamic image of the performing arts rooted in culture and society, and of the ways in which the basic mechanisms of theatricality shape. With an ethnographic ecological cognitive approach, corporeality and regimes of presence are approached, introducing the concept of emplacement into relational analysis as a supplement to the notion of embodiment. An autopoietic model of enunciation as an act of monstration is formulated through the metaphor of “conversation”. For in the ecology of the performatic environment, an “interactive field” is established between actor and spectator, within which theatrical enunciation is accomplished. Hence, selected case studies illustrate how immersive co-participatory experiences reconfigure the set of norms and habits naturalized in the Western theatrical tradition of drama. Finally, the relationship between frontality and immersivity is conceived not in terms of opposition between contraries, but rather in a relationship of continuity as a constant in performatic discourse undergoing multifarious gradations. The one between actor and spectator is an interaction, a dialogue, not based on the relationship frontality/immersivity but on the articulation of interactivity/non-interactivity whereby the different and mutating theatrical forms that populate and will populate performatic ecosystems emerge.