The book’s conclusion summarises some of the arguments explored across its various chapters, namely the progressive recognition of the expressive potential of puppets and marionettes, which explains why artists and authors are still choosing to use them today. Rather than defining these potentials as a restricted area, it presents them as lines of convergence within puppet dramaturgy. These include the puppets’ roots in popular traditions; the ability to combine living and artificial presences on stage; the use of visual metaphors and metonymies; the emphasis placed on the materials and construction of the puppets; and the reinsertion of human characters into a non-anthropocentric representation of the world. The book defines the use of puppets and marionettes as an expanded form of theatre performance. Ultimately, it demonstrates that the history of puppet dramaturgy cannot be fully incorporated into the history of theatre, which must be reconsidered. Not only did puppet theatre invent genres that do not align with the traditional linear sequencing of this history, but it also reveals that transmissions can be as significant as ruptures.