In this article, I reflect on Directing Training by articulating the concept of training in relation to the role of directing and by investigating its occurrence within the context of Composition practices developed by the American theater SITI Company. These practices are based on the procedures that its director Anne Bogart learned while taking classes with Aileen Passloff in the 1970s. Composition emerged from the Judson Dance Theater movement (1962–1964), which following other movements broadly understood within the counterculture of the 1960s, favored a deep revision of the nomenclature and categories instituted by modernity. Drawing on a bibliographic review and access to primary sources, I draw upon the concept of the end of art (Danto, 2006) to discuss the impact of this process on the decline of the modern theater director and the manner in which Composition, as an apparatus (Agamben, 2009), reflects the characteristics of a postmodern theater director.