Judith Butler, with her theory of performativity, questions the idea of ``stable`` identities to insist that identity exists only in a reiterated ``doing`` that is coerced by a cultural apparatus. Querying the relation between performativity and performance, this paper first attempts to examine how theatrical performance is ``othered`` by Austin and Butler who exclude performance from their theories of performativity and also by recent theories of avant-garde theatre-"ideology of modernisms." Instead of undoing the difference/distance between performativity and performance delineated by Austin and Butler, however, this paper endeavors to re-appropriate the difference from a more dialectical stance. Theatre performance is different from but indispensible "outside" of real life`s performativity. The distance between performativity and performance creates a specific site of seeing that is absolutely necessary for us to reflect on and intervent into the process of making reality. By analyzing the way A Doll`s House exposes, speculates, and communicates gender performativity with focus on three key mis-en-scenes (Doll House, Nora`s Dance, and Nora`s Door), I argue for theatre performance as a site/frame for the investigation on the "concealed or dissimulated conventions" of performativity.