Tadeusz Kantor

This article explores the enduring relevance of Tadeusz Kantor’s theatrical innovations within the context of contemporary digital performance. By analyzing Kantor’s radical redefinition of stage objects, particularly his concepts of bio-objects and emballage (wrapping), the study demonstrates how his vision of autonomous, agential materiality prefigures modern experiments with digital avatars, generative AI, and immersive technologies. The authors trace the evolution of Kantor’s costume-as-actor paradigm into virtual avatars and AI-generated music, arguing that these digital quasi-objects extend his legacy by challenging anthropocentric hierarchies and redefining performer–audience dynamics. Through case studies such as the hybrid opera Orfeo and Lwanda (2024) and AI-based compositional systems, the paper examines how Kantor’s emphasis on object autonomy resonates with posthumanist frameworks, in which algorithms function as bodiless co-creators. The analysis also addresses aesthetic and ethical tensions arising from AI’s role in the performative arts, including questions of authenticity, emotional violence, and the “audio uncanny valley.” By situating Kantor’s theories within debates on digital twins, metaverse scenography, and neural-network-based perception, the article positions his work as a foundational lens for understanding theatre’s evolving relationship with technology.