Theatre translation (TT)1 is realized by way of surtitling, simultaneous interpreting, summarizing translation and other modes of translation. It does not appear as a research topic in the literature before Griesel (2000). Its object is to investigate different ways of interlingual transfer characterized by the fact that the boundaries between interpreting and translation are blurred. In contrast to drama translation, the production as a whole constitutes the ‘source text’. It has a multidimensional dimension in that translation modes are blurred and in that the target text may be presented in both written and/or oral form. The article will present an outline of the research area of TT and shows how it constitutes an autonomous area of research that deserves to be treated independently of drama translation, subtitling and surtitling in the opera. From a translatological point of view it is interesting because it combines and integrates different modes of translation. This paper discusses the possibilities of an adequate transfer of a French-speaking production by means of surtitles without destroying the complex semiotic structure of the theatrical work of art. It will also show the limits of surtitling in the theater and the need to consider theater translation as a whole in order to produce adequate target texts. TT may be provided by surtitles, simultaneous interpreting, written synopses or other, alternative forms and thus falls within the framework of multidimensional translation. [Based on abstract in book]