The art of puppetry consists to moving the matter, to the point of making it seem that it comes to life by itself. This illusion is based on a complex interplay of figures of the double in which paradoxes, ambivalences, and equivocations are intertwined. The living comes to life on its own, self-poiesis, through a game of interpretation. This interpretive dimension originates from a separation between the internal and the external environment, a cleavage between an objective reality and a subjective reality. Thus the inevitable errors that make “take one thing for another”, the “qui pro quo”, are both a way of resisting the unpredictable and an opportunity for a redeployment of reality on other possibilities. Isn’t it also the vocation of art to invite the spectator to augment himself through otherness?
D. Schoëvaërt-Brossault (2026) studied this question.