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Focusing on the analysis of functions and aesthetic values of theatrical video projections employed in the role, the trade, and the magnetism of an actor on stage, I examine Denis Marleau's staging of Maurice Maeterlinck's  Les Aveugles  as a celebration of  fantasmagorie technologique : a phenomenon of a video projection (the object) taking the place of an actor (the subject), functioning as the embodiment of a dramatic character in a performance. I theorize the mechanisms of transformation, personification, and dominance that determine what transpires between a video projection, a dramatic character, and a virtual actor on stage. By privileging an object over an actor, I contend that theatre destroys both the semantics of the acting event and the fundamental principles of theatrical communication. By mixing the codes of visual and audio narrative, and by shifting the dominance of theatrical communication and thus changing the paradigm of the spectators' contribution to the creative act of a theatrical happening, Marleau's  fantasmagorie technologique  creates a new performative genre.

Actor-puppet-video projection-spectator- fantasmagorie technologique : Towards a theory for a new theatre genre