In sync with the resurgence of labor activism nationwide, actors, dancers, stage managers, technicians and others have been questioning the nuts and bolts of their contracts — both the documents that detail their jobs and the wider assumptions about what they owe an audience. Can the theater, they ask, find a way to uphold them more holistically as humans, even as they continue to gut themselves every night? Some people will not even agree that it should. The idea that theater is a calling, not a job, and that the two categories are mutually exclusive, is so ingrained in the…