In discussing the phenomenon of the theatre, we are used to think about it in terms of imagination, symbolisation and signification. The theatre always had this privilege of escaping the Real and replacing our uncanny everyday with the help of rhetorical and imaginative devices. But what if there is nowhere to escape? What if this obscenity and banality of our everydayness is the only place we can arrive? Here we can reconsider the so-called ‘antinomy of post-modern reason’: on the one hand, we have the ideology of realism, directly appealing to reality, and, on the other hand, we have discursive ideology, insisting that reality is a set of discursive practices. The direct appeal to reality hardly can be considered as a philosophical solution – it is the position of common sense. The discursive ideology also seems inappropriate, but for different reasons: isn’t it somehow too easy to assume that everything is of a discursive nature? Instead of this controversy, we can choose a ‘third way’: the conviction that our post-modern, discursive reality presents itself as the Real.