This essay argues that Christopher Marlowe's translation of Ovid's Amores thematizes movement and visuality in a way that can be strongly related to Marlowe's other, dramatic work. While previous research has been strongly focussed on Marlowe as a dramatist and more recent criticism has come to contextualize his drama from his poetry, the present essay suggests that Marlowe's poetry and translations should be read more emphatically in the light of his drama, as the Amores translations consistently veer towards movement and visuality in ways that can truly be seen as "theatrical".