 One route to providing a sound analysis that has been taken in theater studies and performance theory, since at least the 1960s, has been to appeal to some broader understanding of the human condition found in philosophical reflections. This was possibly the expression of a hope that in philosophy one might find something more universal than theater itself; and if that led to fruitful explorations of theater practices, that would be a relevant form of imprimatur. However, as Marvin Carlson makes clear, theater artists are not different from artists of other kinds in reacting primarily to the thoughts and practices of their immediate artistic predecessors. So, although this route was taken by theorists, this is not the route taken in theater or performance practice. Moreover, any plausible way of making out what a theater or performance theory is—as for example, taking “theory” to refer to “statements of general principles regarding the methods, aims, functions, and characteristics” of theater—is unlikely to enable us to maintain a bright line between philosophy of theater and theater theory (Carlson 1984 [1993: 9]). Nevertheless, in an entry on the Philosophy of Theater, it is important to note this prominent theoretical strategy.