The Making of Doubt takes the human doll as an emblem of representation and places it within the real and impossible condition of its words and actions. Antoin Artaud writes in ‘The Theatre and its Double’,  ‘The mind believes what it sees and does what it believes; that is the secret of fascination’ (3) The ‘making’ in ‘The Making of Doubt’ refers to the process of perception that bypasses rational intellect in a desire to believe in the reality of a simulation.

The fragmented Puppet appears as a limb attached to the dancers body like a quasi-prosthetic, this additional limb ‘irritating’ the perception of both real and fake members. Like the doll the prosthetic is only successful in so far as it reproduces naturalism. These now hybrid bodies produce confusing physical geometries and unfamiliar co-ordination patterns for the performer arising out of integrating the alien limb into the living dancing body.

CREDITS

Choreography and Concept: Colette Sadler
Performance: Eva Baumann, Maxwell McCarthy,
Sybille Muller, Nefeli Skarmea

Music: Zoviet*France
Lighting: Florian Bach
Dramaturge: Barbara Formis

Production & Choreography Assistant: Marcela Donato
Dolls | Prosthetics: Katrin Michel & Klemens Kuhn