German playwright Marius von Mayenburg’s The Ugly One, on the surface, is a social satire, but it has thematic implication that points to three kinds of segmented posthuman bodies, namely, the abject body, the object body, and the subject body. This paper examines how the three types of posthuman bodies transgress themselves by means of absurd facereconstruction, arguing that "face" as a human organ has turned into mechanical reproduction. In this situation, a posthuman cyborg not only has to face a neurotic identity crisis but makes bodily "beauty" old-fashioned or obsolete. This paper goes further to discuss posthuman theatre, and by focusing on Troyanovsky’s 2017 production in Shanghai, explores how digital performance driven by audio-visual media become entangled with posthuman subject’s corporeal discourse, and how body and technique interrogate and dismantle each other on the stage.