The author analyses assorted versions of the bride occuring in selected spectacles by Tadeusz Kantor by closely following the evolution of this motif, significant in Kantor's oeuvre. The article also focuses on the status of the Kantorian mannequin, changing in the course of succesive theatrical realisations and described upon certain occasions by the artists as a "puppet" or a "wax figure" that could function as the actor's "companion", his sui generis prolongation (similar to the bio-object), a supplementary doppelganger or a model of the actor's performance. Within this context references to the symbolism of Blok or Maeterlinck assume an essential rank as does situating the dramatis persona between life (actor) and death (mannequin and its variants) as well as the consequences of such a borderline quality for the staging.