e concept of the laboratory has a long history in theater and performance. Philosopher of science Robert Crease devoted a volume to developing an analogy between scientific experiments and theatri-cal processes, according to which a laboratory “is a particular space of action” (1993: 106, italics original). But the analogy between laboratory and theater is as problematic for philosophers of science as it is for contemporary performers working in the lineage of Jerzy Grotowski’s “theater laboratory” (Grotowski 1982; Schechner and Wolford 1997). While there are undoubtedly experimental aspects of theatrical processes, it has never been clear exactly how and when theatrical performances can be understood o generate knowledge, or how such “performed” knowledge might be compared with that produced in the sciences or humanities. In theater-making, the aims of experimentation and knowledge production compete with those of artistic composition and public spectacle. How should we distinguish the space of the theatrical laboratory from that of theatrical produc-tion? In my previous work, I have used social episte-mology, a branch of science and technology studies, to demonstrate that embodied technique in fields like postural yoga, actor training, and gender is structured by knowledge as much as by habit and repetition (Spatz 2015).