The La MaMa Puppet Festival, which brought three weeks of puppet performances to New York City. The productions, writes Lucy Haskell, moved the material world to help us reconsider our own relationships to the worlds inside and around us.

In Plexus Polaire’s Moby Dick, the line between the performers and the puppets they control sometimes blurs. Lucy Haskell explores the way that the shifting animacy of humans and objects on stage disrupts the audience’s expectations of where life resides.