Although most trial commentators focus on trial itself, that event is the culmination of a long process that in all likelihood has included what those in theater studies would consider instances of "rehearsal." As theater theorists know, the understanding of a performance is enhanced by knowing something about the dynamic production process standing behind that performance. Part of their interest is, as Gay McAuley suggests, "in the way the complex strands of the subsequent performance came together, how the dominant signifiers came to be selected, what role was played by the written text in this process, and how the same text is able to tell such different stories and convey such different meanings in the theatre." But rehearsal practices—like all methodologies and strategies—are not a unitary, concrete "thing." As Kate Rossmanith puts it, "Rehearsals are a thick weave of diverse practices and discourses; rehearsals, by their very nature, are 'murky.'" What we do know, though, is that a good deal of what looks like "editing" takes place throughout the process.