Many theater productions of the last decades, Adam Czirak argues in his chapter, do not follow the logic of roleplaying and of a "representation as portrayal" but propagate a theater of speech acts and a mode of "representation as proxy," which he describes as a dramaturgy of "second-hand theatrical speech acts." In a first step, the author looks at Nature Theater of Oklahoma's production of Romeo and Juliet (premiered 2008) to discuss the textual logic characteristic of second-hand theatrical speech acts. Next, the discussion turns to Forced Entertainment's production Speak Bitterness (premiered 1994) to inquire into how second-hand speech acts affect the reception process of the spectator. Finally, Czirak turns his attention to Nicolas Stemann's controversial production of Die Schutzbefohlenen (2014, The Wards) and channels his arguments into a thesis about second-hand theatrical speech acts and the resulting politics of representation.