Historically, the performing arts have been defined by the encounter between artists and an audience, in a specific setting, for a given time. This thereby presumes simultaneous production and reception: community co-presence. However, the setting, or stage, is no longer a matter of course, for a variety of historical reasons—mainly technological. Here, I propose drafting a cartography of this technologically reconfigured stage. The aim is to outline a theoretical framework with a descriptive dimension—analyzing the works—as well as a prospective dimension—envisioning other possibilities.