Richard Wagner's works have repeatedly been the focus of questions concerning the possibilities, limits, and nature of the director's role in opera productions, especially in Germany, and prominently at the Bayreuther Festspiele. In this article Clemens Risi discusses some recent developments in staging Wagner's operas at the Festspiele, including Katharina Wagner's production of Die Meistersinger von Nürnberg (2007), Hans Neuenfels's production of Lohengrin (2010), and Sebastian Baumgarten's production of Tannhäuser (2011). While all these productions could be categorized as ‘director's theatre’, they also marked new steps in the staging practice of Wagner's work, going beyond questions of the interpretation of a single piece and taking it as material for exposure in a setting of experimentation. Here Risi considers how a well-known work emerges under the conditions of a newly established situation, as in a laboratory. Currently acting as interim Chair for Theatre and Media Studies at the Friedrich-Alexander-Universität Erlangen-Nürnberg, Clemens Risi was previously Assistant Professor of Opera and Music Theatre at the Freie Universität Berlin. He is the author of Auf dem Weg zu einem italienischen Musikdrama (Tutzing, 2004), and is currently completing a book on opera in performance and preparing another monograph for the 2005 Parma Verdi Prize on performance practice in mid-nineteenth-century Italian opera.