This essay, following Chantal Bilodeau’s call for new dramatic theories, investigates the patterns with which we are thinking about the world when (re)presenting it on the stage. If the Aristotelian form can be interpreted as hierarchical, conflict-led and expressing patriarchal values, what are those heterarchical dramaturgies in contemporary theatre that promote a more equal worldview? Looking at recent examples of drama, performance and contemporary dance, this paper draws up a parallel universe of new dramaturgies (including complex systems theory, game theory and musical dramaturgy) that are open, playful, dynamic, not binary, non-linear and promote a more complex worldview. It examines the emerging theory behind them and discerns what value and overall meaning arise from using these dramaturgies in theatrical composition.