We can speak as we wish of the audience’s producing meaning, as if that were somehow a solution to the complexities of power, but we are still left with the problem of evaluating the meaning which is produced and equilibrating it with the balance of power. While this is diffi cult enough with the individual spectator (or reader), what are we really to make of the continuing sentiments about collectivity that are, more than with other forms, still encouraged by the folk-lore and institutions of theatre?