The subject of this review is Robert Scanlan’s collection of essays Principles of Dramaturgy. In addition to presenting Scanlan’s methodology and the plot-bead technique, the author reflects on his propositions and ideas from a contemporary Hungarian (Eastern European) theatrical perspective. The study places particular emphasis on highlighting and contrasting the differences between American and Central European theatrical experience. It formulates criticism from a creative standpoint, engages in debate with Scanlan’s arguments, and addresses the difficulties the younger generation of theatre practitioners encounter when reading specialised theoretical texts.