Abstract

Adopting a posthumanist perspective, this commentary understands realism in theatre and film as a semiotechnique that helps establish and promote notions of normative subjectivity and “the human.” It suggests that the bio-constructivist view does not escape the social constructedness of the category of “the human,” and that the ethical conclusions Scholte draws need to include a critique of liberal approaches that extend the political and cultural hegemonies of the humanist tradition.