In answer to Cara Berger, this article examines how Hélène Cixous’s play Portrait de Dora and Sara Stridsberg’s play Valerie ska bli president i Amerika approach as examples of feminist drama (and in case of Cixous, also an example of feminist postdramatic theatre) the problem of appropriation, an important question of feminist theories. The article maps the means the texts use to tackle the problem, or whether they resign on it, and discusses Cixous’s reinstalment of the narrator in drama and usage of a structure based on the narrative mode of the stream of consciousness as methods to highlight appropriation processes.