In an era where AGI (Artificial General Intelligence) simulates emotions and desires, theater is no longer a human privilege. Now, with AI acting as actors and directors, and calculating audience reactions in real time, theater stands at the crossroads of a new ontological transformation.
This book contains a fervent reflection on theater in the posthuman era, "theater after theater." Will AI herald the end of theater, or will it become a tool that rediscovers the essence of theater?

〈R.
In UR〉, humans cannot survive.
Because the moment their desires are realized, humans as the subjects of those desires are no longer needed.
To conceal the contradiction of this desire, ideology promises 'human progress' and 'a better world'.
And this promise always carries the premise that 'you who are here now are not enough.'
The real fear is not that robots will act like humans, but that humans will want to become like robots.
Now, love may not be the essence of human nature, but some future condition that humans must achieve.
So, a play that speaks of love will always be a play of the future.

--- From "03_A Play Without Humans, Humans Without Narrative"

According to Bruno Latour, the world is a 'network of actors (ANT, Actor-Network Theory)' in which humans and non-humans interact together.
Theatre is not just for humans.
When a human actor performs on stage, it is not a solo act, but a networked event that includes stage lighting, sound equipment, costumes, the physical space of the theater, and even the smartphone screens held by the audience.
The emotion of a play doesn't just come from the actors.
It always arises from a combination of network elements.
The moment the lights change, the moment the music starts, the moment the audience members hold back their tears, the atmosphere of the play changes completely.
It is not just the actors who create emotion, but the entire stage that organizes the emotion.
And this network could also include AI.
--- From "05_Human, All Too Human Play"

AI only sees audience preferences as 'data', but post-play theater sees audience reactions as 'events'.
This "post-theater" opens a gap between ideological fantasy and a named identity. While AI says, "This is who you are," post-theater asks, "Who are you?" While AI dictates desire based on the desires of others, post-theater exposes the fact that, outside of that system of directives, we are being desired without knowing who we are.

--- From "07_Desire, Fantasy, Ideology and Theater"