 Notably, the methods for responding to this question seem to be epistemic rather than ontological—that is, they seek to defend an answer to the question based on the role each of the possible answers would play in our reasoning about theatrical performances. And they seem to yield no distinctive proposals regarding the ontology of theater. Moreover, to the extent they do yield such proposals, they often seem to offer empirical, rather than a priori, evidence to support the answer their view entails (Fine 2012). Thus, the standard answers to the second question—which certainly appears to be ontological—point in a different direction, namely to epistemic concerns about how we know what it is we know about theatrical performances and less about what we must say there is. And this is despite the fact that, in Carroll’s case at least, the answer is derived from a general ontological view, namely, his widely discussed view about the ontology of mass art.