 theater theory which yields empirical results about the actual practices of theater, “isolating the component parts of theatre and explaining how they operate”, whether as a kind of “reverse engineering” characteristic of the “scholarly theatre theorist” or as a “search for general empirical principles or methods that will bring about coveted results” as is characteristic of the “practical theatre theorist;” and criticism which is also empirical but “preoccupied with saying what is special about the [particular] works in question” (Carroll and Banes 2001: 158, 159, 160). Then second, if one thinks this might not be a mistaken view of the nature of philosophical reflection so much as a “narrow view” of what philosophical reflection might amount to, one might instead conceive of “performance as a site for immanent thought” and seek to avoid the implication that the only thing theatrical performance can do is illustrate a theory or a bit of philosophical reflection (Cull 2013; Cull Ó Maoilearca 2018).