Christophe Honoré’s Le Ciel de Nantes (2021), Ahmed Madani’s Incandescences (2021), and Faustine Noguès’ Surprise parti (2019) represent a new wave of French playwrights who have rejected postmodern aesthetics and have intentionally returned to traditional classic French theater techniques - immediacy, authenticity, and playfulness - in order to create compelling theater for contemporary French audiences despite being confronted with the development of film and social media. These works rely specifically on the synchronous co-presence of performer and spectator. They create intimate portraits of different aspects of French life, drawing on material from both auto/biography and fiction. At their core, these elements are used to explore liveness, whether thematically by looking at an array of human connections (self to family, self to community, self to society), or artistically by exploring the nature of representation and play on stage.