ABSTRACT
Digital media technologies and their networked infrastructures shape and condition the present. Based on the ubiquity and availability of data as well as the means of information targeting and predictive behavioural modulation, an authoritarian capitalism has emerged whose organisational forms and processes increasingly govern life. How can theatre respond to, and work with, these machinic conditions? Provoked by Rimini Protokoll’s Top Secret International, this chapter reflects on the politics of theatre and performance in the ‘postdigital’ age.
