 When it comes to narrowing down to the ontology of theater there are more specific questions that make any approach to the ontology of theater more difficult. The first question concerns how we determine what one must say there is within the discourse of theater. On the common view outlined above, the most basic ontological question is “What do we (have to) say there is?” with respect to some domain of discourse (Quine 1948). On the Quinean view one should first determine what the best empirical theory is in some field of inquiry, second regiment that theory in terms of some system of formal logic, and then, thirdly, ask what objects satisfy the existentially quantified variables within that regimented discourse. That will be the ontology of that field of inquiry. But before we can ask what one must say there is with respect to theater, one first must ask what the discourse is that generates the descriptive facts over which the variables of quantification are supposed to range. That is, to what discourse is this method for determining the ontology of theater to be applied? Any answer we can currently give to this question will be the devastating observation that what exactly the descriptive facts are that are discussed in the relevant discourse, and thus what the actual discourse is, are themselves questions that are not actually settled.