Thematization of the hermeneutical position of the spectator in dramatic texts is generally uncommon. In this paper, we undertake a dramaturgical analysis of the drama Play at the Castle, focusing on possible spectatorial positions. Instead of outlining a theoretical background, we turn to specific passages of the text; thus, the opening scene of the play is of pivotal significance for our analysis. This scene simultaneously opens up the systems of dramatic communication: the entire communication process of the play operates both within and beyond the theatrical illusion. Perhaps the greatest dramaturgical feat of the text lies in the manner in which the pragmatic doubling of utterances occurs. It is in the middle of the second act that the possibility first arises for a given utterance to be understood both within the depicted system of relations—i.e., the internal system of communication—and outside it, in relation to the audience implied by the drama. Play at the Castle serves as a dramaturgical critique of the Hungarian tabloid naturalist theatre convention system, artistically showcasing every defining segment of theatrical operation.