Before the late 1960s, Euripides' The Bacchae had almost no performance record on modern stages. Since then, the play has been staged many times in the United States, Africa, Latin America, Europe, and Asia. Drawing parallels between the elements of transition, transformation, and violence in the second half of the twentieth century and the plot of The Bacchae, Fischer-Lichte argues that the play's reflection on features identified today as consequences of globalization allowed the performance to accomplish what the ancient viewers believed Dionysus, the protagonist, brought about. In this sense, the author contends that Dionysus resurrects as the god of globalization, rendering the tragedy a contemporary play. By analyzing and contextualizing these performances worldwide, Fischer-Lichte reveals the reasons behind the resurrection of this much discussed but, until recently, rarely performed tragedy.