U “ ncanny” refers to a paradoxical feature in which the object creates attraction and repulsion simultaneously, creating a kind of hatred in cognition; it may manifest itself in a disturbing way, seeming familiar and strange at the same time. The purpose of this research is to show how this Uncanniness occurs in puppet performance, accelerating the three-way communication between the puppet, the puppeteer and the spectator, and strengthening the belief that the puppet or object is alive during the performance. For this purpose, the first step is to study reception theory, which refers to the audience’ s reception of the art work and their understanding and interpretation in order to achieve a kind of established knowledge. In the next step, the occurrence of Uncanniness is established through the study of the double vision theory, which analyzes the process of the spectator’ s imagination in bringing objects and puppets to life on the stage. In this study, by considering the Uncanny meanings and by looking at the story of “ The Sandman” by Frederick Hoffman, the characters and the conflict are first defined in the story’ s three opening letters. Furthermore, the psychological conflict of the protagonist, Nathanael, is presented, who is torn between hallucinations and reality. Nathanael struggles his whole life against posttraumatic stress which comes from a traumatic episode with the sandman in his childhood experience. Until the end of the book it remains unclear whether this experience was real, or just a dream of the young Nathanael. The text clearly leaves the decision open in as much as it offers two understandings: that of Nathanael’ s belief that there is a dark power controlling him, and Clara’ s postulation against this by arguing that it is only a psychological element. The story is partly a subjective description of the proceedings from Nathanael’ s viewpoint which, due to enormous psychological problems, is not likely objective – or possibly objectively portrayed. Hoffman consciously leaves the reader unsure. Of central importance is the “ eyes” theme (interpreted by Freud in his 1919 essay, The Uncanny, as fear of castration), the “ steps” , the robot, and laughter. Puppets also have an immortal aspect compared to humans-puppets do not die but human beings do-but the scene is a place for the subconscious mind and the world within the characters. According to Freud, it can be said that the Uncanny factor has had an effect both on the works and the formation of works of the artist in recreating another in the whole work, and has also had an extraordinary effect on the audience’ s perception and it can be said that this modern duality is full of unconscious desires that can be related to cultural desires and order. The conclusive analysis of the data examines how Uncanny happens and forms a connection between the puppet and the unconscious of the audience. The research method is descriptive and analytical based documented resources.