 A substantial literature has developed concerning the question whether the presence of an audience is necessary for a theatrical event. Paul Woodruff defines theatrical performances as events in which someone makes something “worth watching” (Woodruff 2008: 18). He also claims that nothing is a theatrical event—although it may be a performance—unless there actually is someone watching. However, one could define theater as the making of something worth watching even if no one is watching it; and something should tie these two thoughts together. Paul Thom (1992) does supply a connection—because he, like some theater theorists, thinks of theater in terms of speech acts and holds that theater addresses its audience by uttering an imperative addressed to a particular subject ordering them to attend to the one making the utterance. This seems, at least, to require there be an addressee (but see D. Davies 2011: 173, for a contrary view). David Osipovich (2006) has held a similar view to Thom’s but for a different kind of reason. Osipovich’s view is based on the demonstrable fact that performers respond to their audiences. They do this, for example, when feeling the “heat” or the “chill” of an audience and sometimes adjust their performance to fit the audience they have at a given performance. It follows from this that any performance will be different in some respects from any other performance. A different view from these holds that a theatrical performance is still a theatrical performance even if there is no audience. This is because, although the performance may be prepared with an audience in mind, the presence of the audience is not required for the display of the routine that constitutes the performance. It just happens not to be displayed to anyone (Hamilton 2007; D. Davies 2011).