 A straightforward answer to the question is given in terms of the observation, namely, “by means of the senses”. This answer invokes an idea of human perception and attention that is naturalistic, requiring us to appeal to nothing more than the basic features of perception and attention that are studied empirically by psychologists and neuropsychologists. This leaves room for philosophers of theater—and other philosophers of art—to discuss what the objects of attention and perception are in theatrical performances and other forms of art. For example, one suggestion that might be made with regard to theater and performances is that the objects attended to in them are the gestures, sounds, and speeches presented by performers and the props, sets, and so on, displayed in the performance (Melinger and Levelt 2004; Novack and Goldin-Meadow 2017); and the mechanism by which this happens is deliverable by standard empirical psychology (Rutherford and Kuhlmeier 2013). Moreover, it will be useful to philosophers of art and aesthetics to note that most perception is, as our colleagues in neuroscience and neuroaesthetics say, “cross-modal”, involving information delivered by more than one sense modality (Driver and Spence 2004; Kastner 2004; Nanay 2012; Seeley 2013). But, assuming this is on the right track, what does a spectator then do with her perceptions of gestures, sounds, and speeches, in order to understand the content of the performance she has witnessed?