For several years, Susanne Kennedy has been prominently present as a director on the German speaking stage. Her radical adaptations of canonical plays and popular films and her own creations of profoundly other counter-worlds are met with critical acclaim but also with bewilderment. To date, theatre studies has only scarcely engaged with the challenges her work poses. The present volume offers the first edited collection on Kennedy's work. The contributions highlight both older and more recent productions and address the question how Kennedy's aesthetics reanimate the theatre.