Adapting Duchamp's concept of the “readymade” object, Kantor invents the idea of “readymade” man: an actor as is. As he said in one of his New York Times interviews: “For example, there's a creature I call ‘The Found Character,’ precisely like Marcel Duchamp's ‘objets trouves.’ In folklore a ‘found’ object is believed to possess links with the world of the dead; it is purposeless, gratuitous, a pure work of art.” Tish Dace notes that “Kantor achieves an additional grotesque quality, a non-living creepiness. Kantor's fascination with found objects instead of stage props – he uses two wooden alls in place of a baby doll in the mechanical cradle, for instance – further detaches us from the action.” Although Kantor often referenced Duchamp in his international interviews, Kantor's most prominent influence was Schulz's Reality of the Lowest Rank. Like Schulz, Kantor was interested in the lowest objects, abandoned and forgotten pieces of human existence; he saw the human being as a mere replica of this overlooked detritus. Like Shulz, Kantor was also interested in objects vis-a-vis their relationship to human beings. As Richard Calvoressi puts it in his review of the Edinburgh performance of Dead Class: