Phenomenological Study of Human-Puppet in the Contemporary World

In addition to Heinrich von Kleist›s famous article on the Marionette Theater, the author discusses the duality of human and inhuman. He states that the doll does not know gravity, so it has no point of contact with the earth and is therefore free, but on the contrary, man is dependent on gravity and is unable to escape it. Here he uses the protesting phrase: «Unless these threads are discovered by someone, and then the path of the dancing soul will be found;» In the sense that the result of this discovery and awareness is the dancing of man himself and the non-dancing of another. Kleist›s dream logic even places the doll in the category of a moving being who can transfer his energy to the conductor )or dancer(. In this article, we examine the transcendence of contemporary man from his nature, based on Kleist›s idea based on the difference between restlessness in dolls and humans. In this phenomenological study, we use Husserl›s views to navigate the concept of «innocence» and Lyotard›s views to navigate the concept of «ignorance»; Concepts that, by crossing the «temporal composition», provide the ground for the cultivation of the soul, and at the same time, relying on the concept of «incompatibility», create a new definition of human opposition to their socio-political relations. But all these philosophical ideas originate from the mystery of the description of the puppetry›s technical movements, and the puppet›s relationship to man as its exemplary moderator, called the dancer by Kleist, will be the subject of this contemporary study. Thus, most of this article deals with the type of relationship )dancer( with the doll and we find the starting point of the doll›s restless thinking; We then turn from this category to the analysis of the concept of transcendence of reason and logic, of which Clist and Lyotard have spoken in human nature.