The purpose of this study is to examine the performative acting strategies that appeared in the theatricalization of 『A Woman Fixing the Chair』, a novel text of Guy de Maupassant (1850-1893). The so-called “Performativity Turn” phenomenon that appeared in the performing arts world in the 21st century led to significant changes in text, theater performances, and relationships between actors and audiences. Unlike traditional drama plays, plays without text appear today, and actors and audiences, which were strictly separated through the “Fourth Wall,” are inverted, sometimes leading the audience to take on the function as co-producers of theater performances. These changes led to the emphasis on the “co-existence” of actors and audiences in “Now, Here,” where performances are performed through metaphors and symbols using physicality and materiality, away from the traditional theater view that was “representation” around causal relationships, logic, and consistency. This is a phenomenon that is also found in the actual field where this researcher is active. Since its inception in 2008, the theater group “The Flow Theatre” where this researcher is active has focused on contemporary interpretation of classical dramas and theatricalization of novels, and in this process, it has mainly sought a way for actors and audiences to exist jointly by actively utilizing physical language and the materiality of objects with formative beauty and symbolism. The recently performed play “The Chair Fixing Woman” (2023) is also based on the novel text in Maupassant, but has been reborn as a completely new “Performance Text” through the combination of the actor's three-dimensional physical language and objects. In particular, it should be noted that while the original novel text has a framed composition that summons stories of the past through the narrator, the text has been expanded into a total of four layers of multiple structures by adding the boundaries of modern-past, play (illusion), and reality (real) to the existing framed composition. Such a composition of performance text leads to a meta-construction where the play takes place, and the actor performing the play, which is not fixed in any one, and provides an opportunity for various theatrical languages to combine. Furthermore, breaking away from the traditional acting method of playing a single role and recreating a completed character, the actor created multiple meanings himself and actively intervened in the process of creating the performance text. Using the performance of “The Woman Fixing the Chair” (2023) as an example, the researcher first examines the transition process from novel text to performance text, and then divides it into aspects of complex synography construction through physical writing, and examines the performance acting strategies shown in the novel's theatrical work.