Hybridity as the essence of puppetry is the key idea that is considered in the article. By reflecting upon aspects of in-betweenness in puppet performing practices, the conceptualization of puppetry’s hybridity permits us to overcome a prevalent view that reduces puppetry in terms of binary oppositions such as human/non-human, living/lifeless, tangible/intangible. In this regard, a hybrid perspective of puppetry enables the exploration of the connection between performer and performing object as a synergistic relationship. The three areas discussed in the article manifest some of the major and most influential strategies of performing ontological hybridity in the puppetry of the twentieth and twenty-first centuries. The first case focuses on Tadeusz Kantor’s bio-objects resulted in his theatre the genetically unique hybrid performer involved in creating the liminal, transgressive and subversive power of theatre. Based on contemporary puppet performances, the second part of the essay examines the ontological consequences of co-sharing and the interactive play of two bodies—the performer and the puppet. The final case deals with practices that merge puppeteering with complex forms of media, digital technologies and virtual environments. The article emphasizes the performative potential of perceptual multi-stability (after Erika Fisher-Lichte) produced by the hybrid puppet performing practices, resulting in the role of viewers as co-creators in puppetry hybridity.

中文翻译：

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木偶戏中的杂种

杂种作为木偶戏的本质是本文所考虑的关键思想。通过反思木偶表演实践中中间性的各个方面，木偶混合性的概念化使我们能够克服一种普遍的观点，即根据人类/非人类、有生命/无生命、有形/无形等二元对立来减少木偶。在这方面，木偶戏的混合视角使探索表演者和表演对象之间的联系成为一种协同关系。文章中讨论的三个领域体现了在 20 世纪和 21 世纪木偶戏中执行本体论混合的一些主要和最有影响的策略。第一个案例集中在 Tadeusz Kantor 的生物物体上，导致他的剧院成为基因上独一无二的混合表演者，参与创造了剧院的界限、越界和颠覆力量。文章的第二部分以当代木偶表演为基础，考察了共同分享和两个身体——表演者和木偶——的互动游戏的本体论后果。最后一个案例涉及将木偶操作与复杂形式的媒体、数字技术和虚拟环境相结合的实践。文章强调了由混合木偶表演实践产生的感知多稳定性（在 Erika Fisher-Lichte 之后）的表演潜力，导致观众在木偶混合中扮演共同创造者的角色。文章的第二部分以当代木偶表演为基础，考察了共同分享和两个身体——表演者和木偶——的互动游戏的本体论后果。最后一个案例涉及将木偶操作与复杂形式的媒体、数字技术和虚拟环境相结合的实践。文章强调了由混合木偶表演实践产生的感知多稳定性（在 Erika Fisher-Lichte 之后）的表演潜力，导致观众在木偶混合中扮演共同创造者的角色。文章的第二部分以当代木偶表演为基础，考察了共同分享和两个身体——表演者和木偶——的互动游戏的本体论后果。最后一个案例涉及将木偶操作与复杂形式的媒体、数字技术和虚拟环境相结合的实践。文章强调了由混合木偶表演实践产生的感知多稳定性（在 Erika Fisher-Lichte 之后）的表演潜力，导致观众在木偶混合中扮演共同创造者的角色。