The worlds of theatre is regarded the start with the ritual ceremony similar to a dialogue with God. Early theatre tries to enter into a relationship with God, during the ritual ceremony. Thus Martin Buber's ideal dialogical relation, the state of I-Eternal You, will be undertaken in a way which ensures comparability with theatre.
In my doctoral research, I will be testing the application of Buber's view point of philosophy of dialogue between 'I and You' for the contemporary theatre because his relation philosophy can help us understand with audience participation, and by extension, audience and performer mutually leading theatre. In doing this, I hope to show that the Buber's described dialogue between 'I and You', as a certain type of encounter, genuinely bring persons together and forms of dialogical relationship which Buber says makes us more fully human. That is unique to theatre, as compared to television, film, and digital media technology. Theatre is the only media form that genuinely communicates with the audience.
The currently research about the relationship between actor and audience is skewed to focus on the audience position. But I will also consider the position of the actor. Following current research about theatre pieces of the theatre group Ontroetend Goed (BE), and the theatre laboratory Machal (KO), I would like to continue the research in my doctoral thesis concerning the Buber's relationship between 'I and You', 'I and It', and the philosophy of dialogue with the relationship between actor and audience. I believe the current tendencies of theatre, specifically intersubjectivity and its various aspects, provide excellent examples of Buber's genuine dialogue between performer and audience.