Hungarian theatre history of the twentieth and twenty-first centuries, from the standpoint of reception and creativity, tradition and innovation have two classics of unquestionable significance: Chekhov’s The Seagull and Büchner’s Woyzeck. Living in a theatre culture that takes pleasure in the politics of involvement, it is not surprising that, in the 2017/2018 theatre season, three young directors simultaneously undertook the presentation of the best-known fragment in European drama history. In terms of influence, though, it is interesting how these ‘Z-generation’ productions reflect upon two legends of the drama’s performance in our nation: Stúdió K’s direction in 1978 and that of Krétakör (Chalk Circle) in 2001. The current study examines how directors Attila Vidnyánszky, Jr (Stalker Group), Mátyás Péter Szabó (Közért Company), and Máté Hegymegi approach Büchner’s unfinished piece. Can one locate in them a point of integration that structures the dissemination of theatrical symbols (both verbal and nonverbal) into a ’transparent order’?