Ancient tragedy has played a well-documented role in contemporary theatre since the mid-twentieth century. In addition to the often-commented-upon watershed productions, however, is a significant but overlooked history involving classical tragedy in experimental and avant-garde theatre. Postdramatic Tragedies focuses upon such experimental reinventions. It analyses receptions of Greek and Roman tragedy that come under the banner of ‘postdramatic theatre’, a style of performance in which the traditional components of drama, such as character and narrative, are subordinate to the immediate, affective power of more abstract elements, such as image and sound. The book is in three parts, each of which explores classical reception within a specific strand of postdramatic theatre: text-based theatre, devised theatre, and theatre that transcends the usual boundaries of time and space, such as durational and immersive theatre. Across the three sections the author conducts a semiotic and phenomenological analysis of seven case studies, of productions from 1995 to 2015 from the United Kingdom, the United States, Australia, and Continental Europe. The book covers a mixture of widely known productions, such as Sarah Kane’s Phaedra’s Love, alongside works largely unknown in Anglophone scholarship, such as Martin Crimp’s Alles Weitere kennen Sie aus dem Kino and Jan Fabre’s Mount Olympus. It reveals that postdramatic theatre is related to the classics at its conceptual core, and that the study of postdramatic tragedies reveals a great deal about both the evolution of theatre in recent decades, and the status of ancient drama in modernity.