The readaptation of the German translation of Pierrot Lunaire into French (1921-1922), which was set to music by Schoenberg in 1912, will here be the focus of a reflection on interlinguistic and interartistic transpositions to which Pierrot Lunaire was subjected. The complexity of the readaptation results in the fact that the production of the new text is subject to various constraints that differ in nature as well as the objectives they aimed at. Our analysis puts forward three norms governing the textual production, which are semiotic, intercultural and intersemiotic nature. Prompted by a sociosemiotic request of the new receiving environment, the readaptation is a first step arranged in order to both ensuring the semantic intelligibility of the work within a new framework of communication, and opening up an intercultural and comparative dialogue between two most different musical conceptions, namely the Viennese modernism and the Group of Six. The readaptationof the text is then constrained by intrinsic features of the work, which are prosodic and metrical patterns, as well as the structures of the connections between text and music, that alternatively take the form of a consistency or else a discrepancy or a gap between text and music. The complexity of the configuration implies that there is a price to pay for every choice made. In this case, the constraint of semiotic intelligibility prevails over the research regarding the intersemiotic equivalence of the relationship between text and music in the source work and in the French version.