This article explores how aspects of posthuman theory, and in particular diffraction as theorised by Haraway and then Barad, can be used by theatre makers to develop the practice of being and making in company at this current moment in time.

I begin with an analysis of the ways stories (including stories within plays) are shared in the rehearsal room. When framed as a diffractive practice that allows for the 'iterative (re)configuring', difference can be foregrounded both as a radical dramaturgy, and a process tool for collaborating, creating and developing performance material—new ways of being together.

Donna Haraway, in Staying with the Trouble, references an essay by Ursula K. Le Guin, who calls for the need for new kinds of stories, that gather many strands together by a process of exploring the potential connections between all things: explorations of multiples and difference rather than egos and individualism. Here, I consider diffraction in the context of the work of Flute Theatre where Kelly Hunter MBE has developed a dramaturgical process for using Shakespeare's later plays when working with children with severe autism and their families.

This diffractive dramaturgy explores the way we audience / perform work for each other. Subjectivity and objectivity for example, are experienced differently when explored from the point of view that all matter is entangled. There is the potential for a dramaturgy of agential cuts that manifest as a kaleidoscope of intra-actions and material manifestations: a myriad of entwined textures diffracted through and with the participants own experience and context.

This is a new experimental, experiential landscape, where we feel for and towards (in a tentacular way) a collaborative making process that tilts the optic away from traditional expectations. It is a multi-perspective way of working; a posthuman process that finds form in difference.

本文探讨了后人类理论的各个方面，尤其是哈拉威（Haraway）和巴拉德（Barad）提出的绕射理论，可以被剧院的制作者用来发展当前存在和在公司中进行表演的实践。

首先，我分析排练室中故事（包括剧本中的故事）的共享方式。如果将其构想为允许“迭代（重新）配置”的差异化实践，则差异既可以被视为激进的戏剧，又可以作为协作，创建和开发演奏材料的过程工具（一种新的在一起方式）而成为前景。

唐娜·哈拉威（Donna Haraway）在《与麻烦同在》中，引用了厄休拉·K·勒·古因（Ursula K. Le Guin）的文章，他呼吁需要新的故事，这些故事通过探索万物之间的潜在联系的过程而聚集了许多不同的线索：探索多重性和差异，而不是自我和个人主义。在这里，我考虑到笛子剧院的作品中的绕射现象，在该作品中，凯利·亨特（Kelly Hunter MBE）通过与严重自闭症儿童及其家人一起工作，开发了莎士比亚后来的戏剧的戏剧化过程。

这种差异化的戏剧性探索了我们彼此听众/表演作品的方式。例如，从所有物质纠缠的角度出发，主观性和客观性的体验是不同的。代理切割的戏剧性可能表现为内部行动和物质表现的万花筒：无数缠绕在一起的纹理通过参与者自身的经验和环境而扩散。

这是一个新的实验性，体验性景观，在这里，我们感觉并朝着（以十足的方式）协作制造过程倾斜，使光学器件偏离了传统期望。这是一种多角度的工作方式；发现形式不同的后人类过程。