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Acting in the theatre involves complex psychological processes, commented upon since antiquity by philosophers, and more recently by theatrical theorists. In the early 1990s, the author entered graduate school in drama with the explicit aim of studying the psychology of the theatrical process in vivo. Based on his experiences in three productions, he developed a hypothesis: As actors and their director inhabit a play's text, the play's text inhabits them. The habitation of the play's text becomes manifest in the day-to-day interactions of the actors with each other, and with the director. These interactions often involve transference enactments (Nuetzel, 1995). Unfortunately, those who had been most open with the author requested that he suppress the most compelling data. In this report, the author describes his own experience playing Father Dewis in Sam Shepard's (1981) Buried Child in order to demonstrate the central role of transference enactments in the evolution of theatrical performance.