I owe this little comedian truth to the lesson of Guido Ceronetti, with whom I have collaborated for many years: "if the puppet is a human figure, it inevitably also includes the relativity of dependence on cosmic forces, karma, by divine predestination and foreknowledge. To the limited extent that we are free, the puppet is free: but with a little more freedom, created by unlimited adaptability and a superior, unbridled possibility of drawing on paradoxical truths…”
My Antigravity Theatre accepts this teaching and puts it into practice, entrusting the puppet with the task of finding its creator. Furthermore, creating puppets, modeling them, dressing them and animating them means participating in that creative pedagogy of which Goethe tells us that in 1753, at the age of four, on the occasion of Christmas he received a puppet theater as a gift from his paternal grandmother.
The experience was so overwhelming that in the novel "Wilhelm Meister's Apprenticeship" the same episode is transposed as a sort of initiation to the root of every creation, as a far from childish looking out into the infinite world of the Imagination.