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Intermedial theory, as it germinated since the mid-1980s in the fields of visual arts, cinema, communications, and media, found its way into art history and literature, but it seemingly came up against a disciplinary resistance in the field of theater. It was indeed a resistance. Intermediality was at first perceived as a threat by a discipline which was, paradoxically, intermedial itself, and which endeavored throughout the twentieth century to distinguish its own mediality from the media which competed with theater in the field of the entertainment. It was only at the beginning of the twenty-first century that theatrical studies opened up to intermedial theory. This article presents some hypotheses on this resistance and explores the most recent advances in intermedial theory.