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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.

Part II. Drama / Choreography3. The Puppet –The Actor: Parallel Mirrors