This central chapter turns to written communication to explore its part in regulating and networking theatres and repertoire. It begins with an exploration of the types of information shared between troupes and how discursive networks supported their performances. Although theatres are commonly portrayed as having to compete to survive, this chapter reveals that they also regularly cooperated. By illustrating the equal importance of discursive networks and material exchange among the Großmann (touring), Mainz (ecclesiastical court-affiliated), and Schwerin theatres (secular court-affiliated), it reveals that theatre companies were designed with both court and public audiences in mind, and in practice cultivated a shared repertoire. Programming choices were made to some degree based on location, the status of audiences, tastes of patrons, and access to performance materials. But this chapter argues that such decisions were usually owing to the intense communication of theatrical information and recommendations between theatre directors and enthusiasts – and, ultimately, on the expectations to which a collective imperial culture gave rise.