‘What, has this thing appeared again tonight?’

Performance analysis and performance theory have to deal in one way or another with the relationships between the written dramatic text and the stage performance of that text. The point of departure for most discussions of this issue is that the drama text through its staging is ‘translated’ or ‘transformed’ into a performance text but since the ontological status of the written and performed texts are fundamentally different it is virtually impossible to set up a clearly delineated hermeneutic procedure through which the new, ‘translated’ work of art, the performance text, can be analysed on the basis of the dramatic source text alone. It is quite evident, moreover, that the staging of a certain text is both a completely independent work of art, presented by live actors for an audience in the total context created especially for that performance and an ‘interpretation’ of another independent work of art, the dramatic text. The performance itself thus creates a special form of intertextuality where the words assigned to the characters on the printed page of the written text are spoken by the actors on the stage. The behaviour of a certain character on the stage is a specific realization of a potential range of meanings which that character contains in the source-text on the printed page.Since the two texts are so fundamentally different any attempt to judge the adequacy of the ‘new’ work of art, the performance text, mainly in relation to the dramatic text is doomed to run into insurmountable hermeneutic difficulties.