This thesis is the supporting documentation for the non-human performance, First Drop of Water, which is designed based on the main form of the new music theater and experiments with a participatory audience. First Drop of Water will be divided into three movements and performed in three different places, which are (1) the typical stage in National Yang Ming Chiao Tung University (NYCU), (2) the warehouse on the ground floor, and (3) the machine room of the orchestra pit. It is hoped that the work will shorten the distance between performance and audience and let the audience's participation become part of the show.

The work, First Drop of Water, is designed based on water droplets. When water drops, it represents the concept of the "points." Next, when it falls on the ground, it turns into flowing liquid water, standing for the concept of the “line”. Finally, when it evaporates from the sun, it serves as the concept of “surface”. The different changes produced by the contact between water droplets and different materials are metaphors for the mutual influence and interaction between humans and nature. The structure of music and the design of visuals and stages are devised based on the Vedic square, which contains two qualities: geometric patterns and symmetry characteristics.

In the thesis, the author analyzes how modern technology affects and changes the performance through the artwork of the Philips Pavilion, which was created at the Brussels World Exposition in 1958. In addition to Philips Pavilion, two famous works, Stifter's Things which was created by German composer Heiner Goebbels in 2010, and SIN CITY, Taiwan's first technology media and the non-human theater produced by Professor Wang Jun-Jie, are introduced to explore the relationship between the technology of non-human theater, stage space, and audience.

This thesis includes five chapters. Chapter one presents the idea of the composition for the non-human performance First Drop of Water. Chapter two discusses Iannis Xenakis's architecture, Philips Pavilion, and his way for participatory art. Besides, two works, Stifters Dinge and SIN CITY, which focus on non-human performance, are analyzed in this chapter. In chapter three, the core ideas of First Drop of Water are explored, including the Vedic square and its transformation into musical materials. Chapter four is the analysis of the stage design and the interactive art applied in this work. The final chapter is the conclusion of this thesis.