The distinctive features and mutual correspondence of the Real and Non-real are considered by the example of theatre as a kind of communicative practice. The term “Non-Real” (hyphenated) is introduced to denote various non-contingent systems of meanings and significations, that serve as correlates of the actual dimensions of human worlds or spaces, as well as the main means of communication. The signs of the Real include, firstly the human corporeality in its movements, actions, feelings, secondly objects with which in one way or another, a human being comes into the bodily contact and acts, as well as a contingence or chance, a combination of the uncertainty and certainty of each time a particul ar human situation. Special attention is paid to the distinction between the Non-Real a system of meanings and the Fictional. The article critically analyses A. Schutz’s position concerning a consciousness of the reality of the on stage performance for which the concept of W. James on the diversity of realities was the starting point. Erving Goffman’s concept of theater as a frame is taken into a detailed account, along with his decision to apply the term “role” to both stage’s and off-stage’s life, that is analyzed critically. A comparison between the theatre and the cinema in terms of communication between viewers and performers is made.