As technological and cultural changes affect our experience of space, our conception of sound becomes altered. All sorts of new devices prompt stage creators to cross new boundaries and move representation from its traditional venue toward new sites both real and virtual. Nicole Gingras has shown that a sound that occurs in a given space is acknowledged in equal measure to that space (2014). On the stage, this implies that sound can be used to echo the asperities – both physical as well as those that exist only in memory – of a space. In such moments, the stage expands and takes its audience beyond the sole dramatic space of a play (Lelong 2007). This is confirmed by J. Sterne who writes that “the one who hears remains at the center of the audio environment” (2012). Through sound and through the advances of acoustic research, theatrical space can now offer more that a simple setting for the representation to take place, it can generate the work and even take the latter’s ‘place’. This ‘spatial turn’ can also lead the stage to unhinge itself from its ties to ‘real’ space and open onto virtual topographical experiences. A geoaesthetic (Quiros & Imhoff 2014) could take theatrical and sound dispositives in the direction of a cartographic investigation, one that is "open and connectable in all of its dimensions [,] detachable, reversible, susceptible to constant modification” (Deleuze & Guattari 1980). Inspirited by such a process which likens itself to the act of reading a map, audio dramaturgy can turn the stage into a platform of variable interactions, fulfilling now more than ever the theatre’s social and cultural role a media (Larrue 2014). This article seeks to better grasp the theatre’s new aurality that is engendered by ‘relocating’ the stage (due in part to the use of field recordings which bring their share of unpredictabilities) and to consider the implications of ‘extending’ the stage (either as physical location or through the World Wide Web) as a performative, multimedia and intermedial space. To illustrate the argument we will refer to two research-creation works by the Canada Research Chair in “Sound Dramaturgy in the Theatre”: Liaisons sonores Brest/Mashteuiatsh (a radio performance) et Cartographies de l’attente. These performances rely on a form of cartographic writing which outpace the intentions of their author and exceed the physical limitation of the stage by the way they depend on the fortuitous and moving listening situations of each audience member.