Due to the dominant anthropocentrism of theatre theory as well as the instrumental conception of technique, the question of the relationship between body and technique has mostly been raised in the history and theory of theatre in the context of a strategic blindness concerning technology. This paper focuses on the technical implications of ‘presence’ and ’embodiment’, which are by far the most important body-related categories of theatre theory, by investigating their role in rendering the technogenesis of theatre invisible. An example of this non-instumental concept of technique that is inseparable from embodiment can be found in Hungarian theatre studies, namely in Ferenc Katona’s Irregular History of Theatre, published in 1967.