In conversation with Estel Baudou’s performance, artist Phia Ménard offers insights into the key moments of the live performer’s career, from her training days to her international success. Describing herself as ‘undisciplined’, she explains how her work challenges the categories of circus, dance and theatre, in so doing pushing the boundaries of contemporary theatre. It is fitting to end this Introduction with Phia Ménard’s call for the invention of new formats and aesthetics, for the performance of ‘strange things’ and for a form of agitation that ‘feels like love’.

This chapter addresses the use of technological media in contemporary adaptations of Greek tragedies that have used the form, narratives, and cultural cachet of Greek tragedy to create work that engages spectators in examinations of human culture and behavior which have deep historical and emotional resonance, even when the productions themselves are destabilising and sometimes undermining the cultural position of their ancient Greek referents. The approaches span a large gamut from the use of video as scenography to the immersion of the audience in theatrical landscapes fragmented through media. Central to the discussion are artists such the Wooster Group, Jay Scheib, John Jesurun, and Jan Fabre, who use technology to create intermedial effects that express and interrogate the relationship of media to contemporary culture and representation. These works manage to encapsulate the rapidly changing modes of discourse, both live and mediated, and the ever-increasing problematics of representation in a media-saturated world.