 First, the discussion of theater in so-called “Analytic Philosophy” has rarely focused on the social or moral effects of theater (with Cavell 1987 as one exception). Those discussions have been mostly in the form of determining the epistemological and metaphysical status of the art form (Beardsley 1958; Danto 1981; Levinson 1996; D. Davies 2004; S. Davies 2006). But, in theater studies, performance theory, and so-called “Continental Philosophy” (Bergson 1889 [1910]; Deleuze 1968 [1994]; Heidegger 1950 [2008]; Badiou 1990 [2013]) theater frequently has been addressed in the form of criticisms or defenses of the practices of theater in terms of the moral or social effects those practices have had; although in most of those cases, ethical considerations have rested on metaphysical views.