This article introduces puppet animation as a process of dicentization, in which the puppet's resemblance to a living creature is treated as if it resulted from the object being alive. This act requires recognition that the puppet is only an object, accompanied by a momentary forgetting. At a state‐funded theater in Kazakhstan, animation is achieved through a complex participant framework. Any component can jeopardize successful animation, yet this configuration enables a range of possibilities for how animation can unfold. A director's shifting of animation techniques transformed social relations and enabled artists to play with new possibilities of puppetry. Coordinating animation requires—and thus assigns—values to those who participate. Understanding animation as dicentization highlights the endeavor as one that generates signs across the proscenium.

中文翻译：

---

哈萨克斯坦木偶舞台上技巧间的主体间陷阱：作为集中化的动画

本文介绍了木偶动画作为分散化的过程，其中将木偶与活物的相似性视作它是由活着的物体引起的。这一行为需要认识到木偶只是一个物体，伴随着短暂的遗忘。在哈萨克斯坦国家资助的剧院中，动画是通过复杂的参与者框架实现的。任何组件都可能危害成功的动画，但是此配置为动画如何展开提供了多种可能性。导演在动画技术上的转变改变了社会关系，并使艺术家能够玩弄木偶的新可能性。协调动画需要（因此分配）参与人员的价值。