Conclusion
In this paper I have tried to show that the three most important semiotic systems that coexist inside any musical drama are the music, the libretto and the body language. These subsystems are in a clear cooperation with one another. There are rules and mechanisms that regulate different aspects of this cooperation, but so far we do not have a complete and consistent description of these mechanisms and rules. The focus of my paper was the body language, whereas the signs and some other characteristics of semiotic systems of libretto and music were regarded as factors that influenced the choice and the place of gestures in the whole play. The future goals in this field demand the investigation of the peculiarities of interaction of music and libretto, music and dance, dance and libretto, and other numerous semiotic systems that are presented in a musical drama.
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