Offering one of the first scholarly examinations of digital and distanced performance since the shutdown of theaters across the globe in March 2020, Barbara Fuchs provides both a record of the changes and a framework for thinking through theater's transformation. Though born of necessity, recent productions offer a new world of practice, from multi-platform play on Zoom, WhatsApp and Instagram, to enhancement via filters and augmented reality, to urban distanced theater that enlivens streetscapes and building courtyards. Based largely outside the commercial theater, these productions transcend geographic and financial barriers to access new audiences, while offering limited support for artists. This study charts how virtual theater puts pressure on existing assumptions and definitions: how do new forms born of exigency transform the conditions of both theater-making and viewership? How are participatory, site-specific, or devised theater transformed under physical-distancing requirements? How do digital forms blur the line between film and theater? In a pandemic, must virtual theater be live? While the longing for in-person and communal performance is undeniable, the affordances of the pandemic have radically transformed and expanded the possibilities. Organized into two parts, "Digital Theater" and "Distanced Theater", the volume features short chapters that focus on individual productions from the U.S., Europe, and Latin America, offering scholarly analysis and interviews with practitioners. Among the productions examined are Richard Nelson's What Do We Need to Talk About and And So We Come Forth , produced by the New York Public Theater and Apple Family Productions; Forced Entertainment's (Sheffield, UK), End Meeting for All , I , II , and III ; the work of Madrid-based company Grumelot; Eugenio Ampudia's Concierto para el Bioceno at the Teatro del Liceu in Barcelona, and the virtuosic work of EFE Tres and their El merolico en el balcón , presented in a series of locations across Mexico City.