The purpose of the essay is to demonstrate the analytical perspectives that arise from the joint representation of the human body and the puppet in contemporary Hungarian theatrical performances and how they reinterpret each other’s roles between the living and lifeless bodies. The puppet appears in numerous variations in the performances, ranging from the interconnected existence of the puppet and the human to the point where the living body tries to render itself lifeless through the technique of “becoming a puppet.” I analyze the possibilities of the body’s transformation into a puppet within the concept of the human puppet, which I define in two different interpretations. On the one hand, I consider human puppetry representations in which the actor attempts to “puppetize” their body through movements. On the other hand, it includes performances in which the fusion of living and lifeless bodies give rise to a hybrid creature on the stage. The aim of my research is to demonstrate how these performances can be interpreted within various puppetry theories and the framework of posthuman theatre theory.
How to cite:
Theatron 17, 2. sz. (2023): 120–132.
Cím/Title (ENG): The Relationship Between the Dancing Body and the Puppet
Keywords: puppet, posthuman, contemporary theatre, dance performances, human puppetry