 A leading approach to this problem in theater studies and performance theory relies on anthropological investigations into ritual, turning them into a theory of performance that distinguishes between the role of performer and the role of actor as exhibiting different kinds of human behavior (Turner 1982; Schechner 1988). This way of distinguishing between the practice of theater and the practice of performance has been persuasive to some theater and performance theorists because of a feature of the avant garde theater practices in the traditions of Antonin Artaud and Jerzy Grotowski (Artaud 1938 [1958]; Grotowski 1968 [2002]). It is alleged that in those practices the actor seeks to be, or at least to appear to be, metaphysically present to the spectator—appearing to speak spontaneously even when scripted, appearing to have authority in the theater about the direction of the plot, again even when scripted, and appearing to deliver words that are meant, perhaps unambiguously, and could be taken as though spontaneously delivered. In the latter case especially, actors re-enforced what theorists following Derrida called “logocentrism”. In contrast, some theorists held the performer (the non-actor) is free to be, as it were, “absent” (Fuchs 1986).