 The most natural way to respond to the problem with a spectator’s ability to discern a theatrical performance is by appeal to some sort of institution or framing device. But such an answer to this problem has the following challenge to consider: in Augusto Boal’s so-called “invisible theater”, audiences are usually unaware that some of the people around them are actors, acting out a prepared script or scenario, getting a conversation going, and being prepared to leave their audience to continue to discuss the issues raised by the actors, usually about class distinctions and exploitation (Boal 1974 [1979: 143–147]). The challenge is that actors in “invisible theater” have eliminated the very institutions or frames that are assumed to be available to spectators.