This chapter explores what we mean by ‘adaptation’ when discussing classic Greek tragedy in performance and to what extent terms such as translation, version, (re)writing, (re)imagining, etc. can or indeed should be distinguished from one another. Examining the nomenclature attached to four different recent theatrical adaptations of classic Greek tragedy, namely Medea, Phaedra, Iphigenia, and The Persians, this chapter establishes that the differentiation between adaptation and related modalities such as rewriting, translation, and version, is intrinsically linked to processes of reception. Elucidating the difficulty of establishing boundaries between original writing and rewriting, or indeed adaptation for performance, this chapter takes the position that the act of (re)writing asserts the validity of an established dramatic text; it confirms that a text belongs to the category of classic drama. At the same time, it promises an often radical (re)investigation of its premises.