This chapter examines four adaptations of Greek tragedy by three female contemporary theatre practitioners, director Katie Mitchell, writer and translator Anne Carson, and playwright Caryl Churchill. Mitchell is known for experimenting with powerful visual and cinematic images in theatre productions that often deal with female subjectivity, pain and sexual desire. Carson’s writing crosses genres, modernising the classics, bringing her own critical voice and autobiography into play as she does in her version of Antigone. Churchill experiments with the limits of language in each new text, playing with choreography, surrealism and dystopian spaces. This chapter looks at the role of non-speaking presences in four versions of Greek tragedy to explore how they operate as embodied or choreographic critiques of exclusionary gender logics. In each case, the new adaptation inserts non-verbal physical presences into the Greek tragedy to challenge the primacy of the text, of writing, of the conceptual and the cognitive over the physical, the choreographic, the visual and the somatic. These presences signal the incompleteness of the text and alert us to the missing voices and bodies of theatre history. As a result, Mitchell, Carson and Churchill adapt and disrupt Greek tragedy, inserting themselves into classic genealogies while exposing the gendered exclusions of the texts and their scholarly transmission and reception.