‘What if Christ and Oedipus or, to shift the names, Saint Catherine of Genoa and Michael Angelo, are the two scales of a balance, the two buttends of a seesaw?’ Christ and Oedipus, the contrasting images in A Vision, were central figures in W. B. Yeats's theatre work in the late 1920s. Following the publication of A Vision in 1925, Yeats completed his versions of Sophocles' two plays of Oedipus. Designed for the main stage at the Abbey Theatre, King Oedipus was produced in 1926 and Oedipus at Colonus the following year. During that time Yeats wrote a play on the death of Christ based on his work with the Sophocles plays but designed for the smaller Peacock Theatre, the Abbey's new experimental stage. Yeats's play, The Resurrection, was produced there in 1934. Those three productions were the culmination of Yeats's long involvement in two aspects of non-naturalistic theatre – the relation between stage performance and audience in the amphitheatre, and the nature of the poetic and dramatic image produced in that type of theatre.