 To ask what achievements are possible in theatrical performances requires that we understand what an achievement is in the first place. One source of thinking about this will certainly come from empirical work on achievements in education—correlating them with other factors, but not specifying what achievement, per se, consists in (for example, Burke and Sass 2013). Another source will undoubtedly come from those concerned with   virtue epistemology,  virtue ethics, or perhaps perfectionist  accounts of value. Gwen Bradford has examined the basic idea of “achievements” in several publications (Bradford 2013, 2015, 2016). Bradford describes achievements as requiring two things: