Is the world a theater and are we all actors playing some roles?
Where does the theatrical framing end and where does "reality" begin? What limits can be set in the theatrical act?
How can the theatricality of life contribute to the opening and deepening of our individual and social experience? How are the singular character of the theatrical performance, its intimacy and presence, reconciled with the demands of theatrical history for scientific knowledge? What are the new trends of postmodern (or post-dramatic) theater that question the dramatic text?
How is theatrical criticism scientifically constructed and how can we judge it?

These are some of the "Scenes of Theory" that unfold in this book and assure us that theories not only do not pass by, but deeply root in our thinking, often without us realizing it, and determine our attitude towards our scientific or artistic activity. Conceptual charges, ideological residues of youth or imperatives of the "norm", theories lurk in our thinking and function like the strings of a violin: no matter how good the wood of the violin is, no matter how careful its construction is, the melodies will only be heard with the touch of the strings.