In retrospect, that Roland Barthes's insistence on “the death of the author” should have provoked an emergent interest in theatre audiences is hardly surprising. As, in literary studies, this brought about a new privilege for and investment in the reader, so too, in theatre and performance studies, there was an explicit recognition that what went on in the theatre was qualitatively and quantitatively more complicated and more exciting than the study of the playtext in the classroom. At the same time, the move to challenge a universalized (and thus male) viewing subject created new readings of the audience and new understandings of both individual and collective spectatorship across a range of subjectivities. So, Jill Dolan could argue that the “feminist spectator viewing such a representation is necessarily in the outsider's critical position.” Dolan continued:

She cannot find a comfortable way into the representation, since she finds herself, as a woman (and even more so, as a member of the working class, a lesbian, or a woman of color), excluded from its address. She sees in the performance frame representatives of her gender class with whom she might identify—if women are represented at all—acting passively before the specter of male authority.1