In contemporary drama education theory, much emphasis has been placed on the value of improvisation and role drama for contributing to the development of students. Working through role in improvisational formats has been thought to provide students with unique opportunities for understanding self and others by creating contexts that allow for "putting oneself in other people's shoes." The educational benefits of performing plays, on the other hand, have often been downplayed. Although contemporary theorists no longer tend to adhere to a strict dichotomy between "drama" and "theatre" nor completely devalue the latter, nonetheless the performance of plays is still often confined to advanced study for the talented few or relegated to extra-curricular status. In this essay, the author examines critically the types of views about theatre performance which might underpin such devaluing, and argues, on the contrary, that rich possibilities for educational development are available through the performance of plays. These educational benefits are afforded through the activity of interpretation which is integral to such performance. In order to examine the benefits of performance, the author first examines the reason for its current devaluation. She argues that performing a play is not a purely technical communicative activity but is a creative enterprise. (Contains 16 notes.)