In “Navigating Turbulence: The Dramaturg in Physical Theatre” Bruce Barton utilizes Eugenio Barba’s “dramaturgy of changing states” as a framework for considering the tensions between the textual and physical aspects of devised performance creation—or, as reframed through Erika Fischer-Lichte’s concept of “perceptional multistability,” between the elements of a performance that facilitate efficient semiotic interpretation and those that exceed or resist it.