Margaret Edson's Wit critiques the binary split between mind and body as it is treated within the medical realm—which tends toward the degrading or disregarding of the "diseased" and "anatomized" body, and the concomitant privileging of the scientific, objective mind. Utilizing a feminist perspective, I argue the negative implications of medicalizing female bodies, in relation to Vivian Bearing's experience as a "specimen" or "text" in a research hospital. The mind/body dichotomy presents itself through the play's use of and concern with language, and Julia Kristeva's theory of the "semiotic chora" illuminates Vivian's gradual "unlearning" of the patriarchal, structural language of scholarship and the medical community (which I associate with Kristeva's "symbolic"), in favor of a communication in the realm of nurturing, kindness, compassion, femaleness, and the body (which is more in line with Kristeva's idea of the "semiotic"). The semiotic is exemplified in the scenes in which Vivian is cared for by her nurse Susie and her professor E.M. Ashford. Vivian's inability to articulate pain using symbolic language leads her to the realm of the semiotic, which she ultimately embraces. Finally, by "acting out death" onstage and reaching out of the structures of theatre to directly address and incorporate the audience in her process of dying, Vivian is able to communicate human feeling and experience beyond language through the artistic medium of theatre; thus, theatre itself becomes a kind of semiotic chora space.