The tradition of Western drama has its ghosts, from the spectral characters of Darius in The Persians and Clytemnestra in The Eumenides to the attending ghost in The Spanish Tragedy and the ghostly voice in the “all grey” room of Beckett’s Ghost Trio. In turn, some non-Western traditions of theatre, such as Japanese noh, insist upon the primacy of ghosts, whose stories are recounted on stage. Perhaps, from the perspective of our modern world, such characters are anomalous devices of the theatre. Yet Marvin Carlson insists in The Haunted Stage that we understand them as emblematic signs of how all drama and theatre are organized and experienced.