It is not surprising that, among many of the authors who promote it, structuralism is so often accompanied by calls for a new theatre or a new (non Aristotelian) interpretation of the theatre: a theatre of multiplicities opposed in every respect to the theatre of representation, which leaves intact neither the identity of the thing represented, nor author, nor spectator, nor character, nor representation which, through the vicissitudes of the play, can become the object of a production of knowledge or final recognition.