This study examines the contemporary dance work Yunhoejeok Macbeth (2025) to investigate how nonverbal cues touch, distance, gaze, spatial formation, and rhythm semiotically mark the Lady Macbeth Macbeth relationship and how their repetition and accumulation lead to relational shift and collapse, while evaluating the applicability of Transactional Analysis (TA) . The work was segmented into scenes and the cues were coded as signifiers and interpreted through the signifier signified framework of dance semiotics and TA concepts, including ulterior transactions and ego states (Parent Adult Child) The analysis revealsthat in Scene 2, Lady Macbeth’s approach, contact, and central positioning reinforce covert control and pressure beneath apparent collusion, intensifying relational asymmetry. This is accompanied by weakened adult regulation (A) and heightened parent control (P) and child instability (C). Scene 3 employs repetitive movement and circular formations to present a cyclical structure of samsaric recurrence following catastrophe. This study demonstrates that nonverbal cues function as semiotic units that produce and transform relational meaning and confirms the productivie applicatbility of TA concepts to dance analysis.