In our increasingly mediatized society, liveness has earned a prestigious status. Even within the context of the media, the live is often held above the recorded. Liveness implies immediacy, a happening in real time, and tends to be associated with watching an event or performance in real time: live celebrity trials, live episodes of TV talk shows or live news coverage. In this sense, live also suggests the real; what we see live is real life, unrecorded, unedited and unfiltered by the media (whether this is, in fact, the case or not). To consider theatre with this idea of liveness in mind is almost paradoxical. Theatre may be a live event, but it is not real, nor are the events on stage necessarily happening in real time. Often, what we see on stage are retold experiences, retold stories. Theatre is live, but it is already secondary, a re-presentation placed on the stage.