
Puppets are for children:
Children relate to puppets from their
earliest years because they are used to
making inanimate characters come to
life. Children are puppeteers themselves
from the first time they pick up a shoe,
a squeezed-out half orange or a
hairbrush and make it move and talk.
Toys and dolls take an active role in
children's play. They laugh and talk and
argue. They try on personalities and take
them off again. The child makes her doll
move-she is the puppeteer. She scolds
her doll in the stern but loving voice
of a mother-she is an actor. She makes
her doll stamp its foot and then laughs
at the effect-she is the audience. After
this early experience a child recognizes
puppets as legitimate and natural.
The puppet can be whatever the puppeteer
and the child make it. It can be the
child's friend without demanding
something in return. It can be a clown.
It can be naughty and get into trouble
without hurting anyone. It can say what
the child thinks, feel what the child
feels and share a child's sadness. It
can show a child who knows poverty,
hunger, war and loss that there can also
be joy and love and a happy ending. A
puppet can tell a child who rarely hears
it that he is loved. A puppet can show a
child that her father or mother can also
be sad, and it can demonstrate the value
of love, the futility of quarrel and the
benefit of cooperation and support.

Puppets are for adults:
Despite the special relationship between
puppets and children, puppets also speak
to adults. The roots of puppetry are
deeply connected with mystery, symbolism
and religion. The earliest adventure
stories were instructional, advising
people on the right way to live.
Traditional puppet stories from India,
Indonesia, Japan and Eastern Europe have
been devised for and watched by adults.