Nowadays, while information rules the world, blurry phenomena are not much appreciated. We tend to link fuzziness to a lack of information. A photo that is out of focus is considered a fiasco although, for a photographer, there might be more information in a blurry image. Things are similar on the stage: fog makes the space bigger while revealing the rays of light. Scenic blurring – with the help of either cotton, gauze or smoke, depending on the times – can hide mediation, but it can also reveal it. The fog with its constant motion adds a touch of cinematography to any surface. Thus, the intermedial games between the “moving images” and the good old set elements in plywood are older than today’s “screen-crazy theatre” – they go back to Guyot’s nebulous lantern and Wagner’s steam machine. Isn’t smoke more authentic on the stage than video, considering the fact that it is a direct imitation of nature, and that nature with its spontaneous fogs is one of the few factors that resist our clarity phobia?