Centred on Complicité and Simon McBurney’s The Encounter, this chapter introduces spectaurality as phenomenological chiasm—the criss-crossing, intertwining, reciprocal relationship between the perceiving subject and the perceived world, as articulated by Merleau-Ponty. In the chapter, understandings of music are expanded to include sonic composition and as that which designs theatrical form while spectaurality is an active process of ‘seeing’ with the ears and ‘listening’ with the eyes. The Encounter is based on Petru Popescu’s 1991 book Amazon Beaming and both the book and the play narrate the ‘true’ account of National Geographic photojournalist Loren McIntyre’s time in the Amazon rainforest and his ‘other-worldly’ encounters with the indigenous Mayoruna people. The Encounter is sonic or aural theatre: it features immersive binaural design, accessed by the audience via individual headphones. Yet such immersion is consistently confronted and fractured by a visual minimalism that persistently exposes the theatricality (and theatricalisation) of sound-making and denies audiences the visual comfort of a realist staging. In such a dramaturgy, The Encounter unfolds as a sensorial imbrication, an overlapping or intertwining between sound and sight, where the ear ‘sees’ and the eyes ‘listen’. Such a metatheatrical staging engenders phenomenological in-betweens of intimacy and distance such that audiences are provoked to interrogate the concept of story-telling, of truth, reality and intersubjectivity. Additionally, the experience of listening individually to The Encounter while sharing visual space with other audiences creates embodied experiences of being ‘alone-together’. These experiences exemplify the production’s concern about consciousness as what Jean-Luc Nancy terms, singular-plural—a phenomenon McIntyre experiences with ‘beaming’.