Abstract

If the philosopher has an analogue in the theatre, perhaps it is not with the performer, the one who shows, but with the stage-hand, the one who sets the stage. This is not, as some might argue, because the stage-hand has some special access to what is behind-the-scenes, or because she knows that what is on-stage is only illusion. The stage-hand’s work is not hidden. It is exactly the opposite: the work is there for all to see. It is because it is there that all can see. It is the work that makes the seeing possible.