 This way of construing writing “for the stage” does not preclude what may be called a “literary theater”. If we think of scripts as “scores for action” (Saltz 1991b), we may also think of them as providing particular orderings of the information an audience will encounter (Stoppard 1999). Some scripts do this to excellent effect; in theater parlance, they “have legs”. Like some gymnastic or jazz routines, they are frequently repeated and approximated because they yield performances that mark great achievements. Writing may contribute to this achievement for theater because it allows greater control over the flow and order of information than do complex scenarios crafted for improvisational sequences or even than do scenarios and language passed down from performer to performer over generations. Whatever the case may be with respect to the value of scripted performances over performances generated in other ways, however, a script driven theater is likely to be a literary theater simply because it will produce some written scripts that can—indeed will—also be taken to function as works of literature.