Scenic narration is one of the most exciting problems of visual dramaturgy. Which are the elements that bear the burden of telling a story, and which are the fragments that replace the explicit form of the whole story? Postdramatic or contemporary theatre widens the possibilities of interpreting the signs: the possibility of story(telling) does not die, only that in its fragmented status it is more suitable to the pluralism of a contemporary worldview. Hans-Thies Lehmann states that “within the de-hierarchized use of signs post-dramatic theatre establishes the possibility of dissolving the logocentric hierarchy and assigning elements other than logos and language” (2006), and this applies more to the visual dimension in the scenic narration. It is obvious from these statements that the pictorial and the performative turn are responses for the crisis or even the end of logocentric thinking, giving way to the flow of images, on the one hand, and to actions happening in a performative space between the bodily presence of spectator and the actor, on the other. It is from this double point of view that Ungvári Zrínyi examines narration in an intermedial performance, in a specific theatrical language situated between film and theatre. The forms of visual narration in this case function through recycling, which is in close relation to adaptation and translation, and as the analysis will refer to, with other forms that work with the appropriation of texts, be they verbal or scenic ones.