  Nevertheless there is also an active side to artistic enjoyment, as in reading, for example. Without the spectator’s contemplation, or the reader’s reading, the artwork’s expression remains purely subjective. It becomes objective, manifesting its sense in actuality, only through the symbolic consumption of the audience. This act, however, is not passive: it mobilises the audience’s own power of expression and imagination. Reading, watching, or listening are, as Sartre puts it, “directed creations”: “To write is to make an appeal to the readers that they lead into objective existence the revelation which I (the artist) have undertaken by means of language” (Sartre 1948a, 32; Dufrenne 1973, 47–60). Marcel’s conception of the theatre as an experience of ‘communion’ also implies this active participation of the audience.