Katarzyna Waligóra reviews The Rite of Spring directed by Romeo Castellucci (Ruhrtriennale, prem. 15 Aug 2014). The author enumerates the inversions of traditional models of thinking about theatre present in the performance. The most important of these is the gesture of substituting actors with machines suspended from stage barrels. The transgressions made in the production allow Castellucci to establish the machine as a non-normative actor, capable of displaying autonomous activity within the performance.