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In Edward Bond’s play  The Under Room , an illegal immigrant is represented by both a dummy and a dummy actor. This article will investigate how the immigrant’s dualised body may impact on actors and audience in performance. It will argue that the device revitalises an ancient dramatic strategy to radicalise the relationship between time and space, crucially without severing it in postdramatic narrative rupture.

Staging Reality (beyond Representation): A Perplexing Bondian Body