| Summary: | Since the 1990s, the relationship between art and new image technologies have modified the theatrical scene, incorporating the projection of virtual images that re-flect different spaces in the world. The techno-scene (Kozak, 2012) in contemporary times is understood as the manifestation of performing arts that presents the incorporation of different technological supports in the scenic space to modify the perception of theatricality in the works where telecommunication connects distant spaces in the same show, and where the intersection of features that characterize the local reveals the cul-tural transformations that we perceive as hybridity. In the new technologically mediated scene, the digital image that materializes the virtual is incorporated. The projections of these images are constituted by the transduction of the codified elements that make up the current world, but they are of a different nature be-cause they generate a new presence. The interaction with digital images produces a paradigm shift in the work of the actor. In this new universe, the actor's body is questioned, qualitatively modified, since it di-alogues with the different technological stimuli that, in the words of Toscarelli (2008), make "the staging a heterogeneous, rhizomatic organism in constant transformation, similar to the molecular process with-in which traditional representation no longer has a place” (p .414). These experiences offer the actor a dif-ferent work methodology than the one used up to now. From these postulates arises the concern to reflect on the staging system and the corporeity of the actor that establishes the dramatic theater, to pose as a problem the modification of specific characteristics of the stag-ing when there is a technological mediation and the al-teration of the characteristics that define the corporeity of the actor, in that virtual reality space that occupies part of the scene. For this, an interdisciplinary scenic experimentation work developed in Argentina is recov-ered, where not only the different characteristics of the actor's work and his poetic action in scenes mediated by technological resources are explored, but also, where the notion of expanded field prevails and hybridity. The results obtained by the laboratory experience allow to establish cross-sectional readings to the experimental field in relation and contrast with experiences located in other latitudes, and with experiences carried out in the field of computing and robotics. Finally, a critical perspective is established on different theorizations that are developed in the theme in order to expand and validate some concepts for the case of the theatrical actor who acts in a techno-scene
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