 However, the problem of focusing spectator attention looms large as a problem in theatrical performances and is one of the crucial questions that a theater company faces in developing a performance (Chaikin 1972). The data are presented by the performance, but the data are whatever the spectator experiences. They may be data about events that are transpiring outside of and prior to the performance. They may be about the kind of events transpiring in or outside of the performance. Rather than asking questions and waiting for the performance to deliver data to supply answers to those questions, spectators are engaged in updating their expectations from the onset of the data. Crucial to this process is that a spectator must determine where to focus her attention. Spectators enter a venue of presentation with at least some expectations already in place. Spectators who are experienced may have quite a few expectations about the performance but, if they are not experienced theater-goers, they will have very few of such expectations. What is needed is a model that is consistent with at the least the first observation about the “concatenationist” theory of musical comprehension that Levinson presented—the need to update in the moment. It should also be consistent with much of Carroll’s “erotetic” theory of the comprehension of Hollywood Style movies, but it needs to be wider in its application than Carroll’s view, which seems tailored to movies where the attention focal point is much easier to manage than it is in the theater. And, it should offer an explanation of how a spectator determines the kind of performance with which she is confronted.