Nüüdisteatri mängulaadide varu ulatub psühholoogilis-realistlike karakterite mängimisest üle mitme rolli järjestikuse esitamise ja ülesandepõhise näitlemise kuni osalemiseni installatsioonides, kus puudub vähimgi viide karakterile.
Nagu sõnas Tiit Ojasoo, ei ole näitleja ilmumine lavale iseendana vajalik ega ka võimalik, sest isegi, kui näitleja tutvustab end laval oma nimega, hakkab ta mõneti iseennast mängima ehk võtab mingi rolli. Niisiis ei tähenda roll teatri kontekstis ainult fiktsionaalse tegelase kehastamist, vaid kokkulepitud lavalise funktsiooni täitmist laiemalt. Rolli kaudu kehtestab ja kehastab näitleja laval teatud seisundit ja seisukohta.
In approaching the play in its entirety, the actor must subject his role to more intense analysis: he must search for the spine, or the kernel, of the play as well as its division into separate sections or units of actions. He must discern the beats of the play (i.e., the smallest units of dramatic action into which each role can be divided) as well as the rhythms of the play as a whole, and he must determine what adjustments must be made in his performance for each of the other characters.
Except that there is no author, only a number of sometimes hardly individually characterized average people who through a role in a fictive stage world display themes and gestures that are largely fed and mediated by secondary media perception.
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