Continuing the research on theatrical improvisation, the author moves beyond the stage, exploring audiences and publics who are encouraged to have a turn, a voice, and a vote. The focus of the investigation rests on the 20th century, when there was great concern for the theater spectator, in order to reshape their position on stage, even encouraging them to participate. The theories and practices established by directors Jacob Moreno, Augusto Boal, and Keith Johnstone substantially break with the conventions of traditional theater and censure the framework imposed by classical Greek theater. Their proposals invoke primitive theater, still without defined functions, free from norms, festive, and participatory. In this ancestral reference, the spontaneity and improvisation of those involved would be present, two themes visibly dear and fundamental in the practice of the aforementioned directors. The reader might wonder if this return to origins, coupled with the spectator’s entry onto the scene, using improvisation as the driving force of the staging, would not distort the nature of theater, thus inaugurating another art form. The directors themselves anticipate the answer to this question. And to understand their reasons, we invite you to read this book.