In Schnitzler’s ‘Zum großen Wurstel’ (1906) a wrestling match between a marionette and a wrestler, who emerges from the audience, challenges the human-ness of actors and audience alike. This article applies genetic analysis in order to examine the entangled embodiment of the real audience in Schnitzler’s theatrical parody by focusing on the mutual constitution of the materiality of bodies and their human and other-than-human agency. A set of paradigmatic scenes of border crossing places this dramatic experiment between posthuman and postdramatic theatre practice, drawing on both Erika Fischer-Lichte’s redefinition of the term ‘embodiment’ and Karen Barad’s post-humanist theory of agential realism.