Ever since the prehistoric age, people have been endowing some objects with symbolic status and, by animating them, they have turned them into means of communicating profound truths about man and life. The need to communicate led to conceiving a system of representation through which exterior forms of expression were created and assumed, a particular way of making the invisible visible.
No matter the type of puppet or marionette, the area in which one form of puppet theatre or another was created, the characteristics of the puppet-style of representation have remained the same: the embodiment of a hero through an object that has more or less mobile elements; the nonverbal behaviour of the animated object, pantomime and unintelligible speech; the usage of music or speech for emphasizing the puppeteer’s performance.
The contemporary dynamics of performing arts has determined us to plead for the re/evaluation of the statute of the puppet as actor, as well as the puppeteer‟s. The present study might also be seen as a journey from and towards the theatre principles established by Kleist, Craig or Obraztov; a lesson about the poetry of technique and poeticized technique. The analysis of the double dimension of characters in animation theatre - the plastic and the interpretative sides - but also of the role of the relation between puppet and puppeteer has determined us to prove the necessity of using methods that are centered on interdisciplinary and comparative studies.