Drawing upon recent developments in “post‐dramatic theatre”, this article inquires how the aesthetics and art of theatre has been justified and used in the organisational context and tries to re‐imagine possible relations between theatre and organisation. Referring to the simultaneously provocative and self‐reflective staging of Dostojevski’s “The Idiot” by the German director Castorf, we suggest to break up an all‐too‐easily established relationship between theatre and organisation and to demand that the “art” of theatre in organisations requires a performative demonstration that there is always an other way of organising. A carnivalesque relationship between theatre and organisation is conceived as a performative (and, hence, political) assemblage playing out hybridity, riskiness, and irony.