This chapter discusses three performances that try to confront spectators with large biological scales despite the limited configuration of cultural venues. All three build up new stages, mostly outside theatres: After A Life Ahead is installed by Pierre Huyghe in a disused ice rink, Exote is conceived by Kris Verdonck as a kind of vivarium for animals, plants and spectators, and Tobias Rausch’ Planttheatre The World Without Us takes place in the middle of a park. These stage reconfigurations promote a spatial displacement, and raise the awareness of scales that are still more suggested than embodied. The experience of biological presence is deepened by the perception of entangled human and non-human processes. Indeed, these plants or places are products of historical evolutions, biological dissemination, human journeys. Moreover, they give signs of possible outcomes and further cultural-climatic evolutions. The experiment of intertwined processes and the impossibility of grasping all the biological and temporal scales go hand in hand with a sensation of mismatching or the feeling of being overwhelmed. These apparatuses may thus give rise to a critical thought nourished by sensitive immersion and speculative confrontation. This leads the author to ask whether these aesthetic experiences could pave the way towards a new relational and ontological manner of thinking. Indeed, the audience's deeply situated reception enables the spectators to develop a ‘sense of wonder’ and the theatre to become ‘diplomatic’.