 In Gadamer’s philosophical hermeneutics, the treatment of the experience of art is expansive, but a synopsis of his definitive formulation from Truth and Method is instructive. Gadamer, first, introduces the theme of ‘play,’ or, of the ‘game’ (Spiel) to emphasize that the experience of art is an event of interpretation that exceeds the subjective intentions or interests of those involved in it (Gadamer, Truth and Method, Part I.II.1.A). Insofar as we agree to play a game, we give ourselves over to the context of meaning that comprises the game. We allow ourselves to be oriented by the norms that govern, and thus enable but never determine, thoughts and actions appropriate to the playing of the game. Likewise, when we participate in an experience of an artwork, we give ourselves over to the context of meaning that comprises the work, and, thus, allow our interpretive experience to be governed by the limits and possibilities of interpretation appropriate to the work. When we experience a performance of Athol Fugard, John Kani, and Winston Ntshona’s The Island, for example, we allow our interpretive experience to be governed by limits and possibilities of interpretation that have to do with apartheid-era South Africa, Robben Island Prison, and parallels with Sophocles’ Antigone.