In his Postdramatisches Theater Lehmann compares the effect of the dramatic theatre to that of perspective in painting. Both are structured according to an aesthetic logic that can be characterized as teleological. On the contemporary post-dramatic stage, this logic is deconstructed or rejected. In my text, I take a closer look at this comparison of drama and perspective in Lehmann's text. I confront Lehmann's account of the postdramatic theatre with the work of Dutch theatre director Gerardjan Rijnders. Rijndesr's work draws attention to the inevitably of the subjectivity involved in every vision of the world, even when this world seems to be shown ‘as it is’ in itself. As I will argue, it is precisely the relationship between what is seen and the subjective point of view from where it is seen that is obscured in Lehmann's account of the similarities between drama and perspective.