Bay-Cheng likens the debate about digital theatre to debates about translation. She expounds on those debates that decry both digital theatre and translated texts as inferior, deviative and deficient compared to the original, and uses these paradigms to appreciate digital theatre as translated theatre. Bay-Cheng turns to Walter Benjamin’s notion of the ‘dialectical image’ to understand how the medial translation provided by digital theatre can accentuate features that an audience may otherwise miss in the theatre. The ‘meaning’ of the original can thus be more effectively rendered through the technological features of the ‘inaccurate’ medium of the digital representation of the original performance. Expanding the reading of digital performance as a form of translated theatre, the chapter ultimately borrows from translation theory to apprehend the phenomenon of theatre across media and to suggest future directions of live art post-pandemic.