 To respond adequately to Boal’s challenge, views like Thom’s, Osipovich’s, and possibly Woodruff’s need to answer a further question—whether an audience must not only be present as an audience but also be aware of their role qua audience. Yet, on the views of Hamilton and Davies, one need not ask this question because audiences do not even need to be present in order for there to be a performance. But, assuming we can credit Boal’s case of “invisible theatre” as a case of theater, it suggests there are two classes of theatrical performances, one in which spectators do not know that there is a performance at all and one in which spectators can determine, either by explicit appeal to or an implicit reliance upon an institution or a set of framing social practices, that they are watching, hearing, smelling (and perhaps tasting or touching) a theatrical performance that engages them. And the latter is by far the larger of the two classes.