It is customary to speak of Husserl’s theories as ones that have been reinterpreted by numerous theorists—from Heidegger and Sartre through Merleau-Ponty and even Derrida. Not to mention those schools of theatre theory for which phenomenology made it possible to grasp aspects of theatrical performance that do not function as signs and that take into account the embodied corporeality of the human being. As a researcher, I am interested in the conditions of possibility of the spectator's perception; that is, how theatrical experience is constituted at the level of the acts of consciousness that occur during the reception. The Husserlian transcendental-phenomenological eidetic concepts offer the most precise account of this set of questions, as is borne out by the fact that theatre theorists themselves often return to Husserl, Merleau-Ponty, and Heidegger to ground their theses phenomenologically. On the other hand, it is important to me to work within a stable, transparent framework, and in this sense none is more reliable than Husserl.