In an attempt to distinguish themselves from the increasing proliferation of like projects, some theories, training programmes, productions, sub-disciplines and the like project a kinship with already authoritative voices. This artificial association characterizes the inevitably ‘intercultural’ product not simply as another element in the postmodern mix, but as a truth validated by tradition and transcending the limits of cultural fads. Richard Schechner's self-styled ‘rasaesthetics’ seeks to associate itself with the rasa concept of classical Sanskrit theory. But rasa and ‘rasaesthetics’ have little in common, and Schechner's attempt to project their kinship requires misunderstandings of theatre in India and in the West. Ultimately, ‘rasaesthetics’ is an example of a tendency in dramatic theory not to try to explain phenomena but to try to legitimize practices.