Returning to a formative moment in the discourse of performance studies with a glancing dialogue between Richard Schechner and Michael Goldman, this article traces a series of efforts by Benjamin Bennett, Herbert Blau, Elin Diamond, and Stanton Garner, among others, to seize the work of dramatic performance as performance and to develop a critical vocabulary that understands dramatic theatre as an encounter with writing rather than as a reinscription of the archive.

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