There is a crisis in drama studies that is reflected in the ways different disciplines understand dramatic texts and performance. Literary studies, absorbed with the functioning of language, often betrays a desire to locate the meanings of the stage in the dramatic text. Performance studies has developed a vivid account of nondramatic performance, which appears to depart from textual authority. Both disciplines, however, view drama as a species of performance driven by its text; as a result, drama appears as an unduly authorized mode of performance. Here, I read a range of critics (Andrew Parker. Eve Kosofsky Sedgwick, and Judith Butler on J. L. Austin; Dwight Conquergood on ethnography; Joseph Roach on surrogation) to suggest ways of rethinking the relations of authority that inform texts and performances. I conclude with a glance at the representation of the text in Baz Luhrmann's recent filmWilliam Shakespeare'sRomeo and Juliet.