The art of puppet was born in Greece, around the 5th century. e.g. under the name "Statues - Nervous" (Wreck nerves).

In 422 BC The wealthy Callias had a dinner and because he loved the shows of his wealth, he was confirmed that an elaborately laid table, plenty of wine and beautiful women would not be missing from the feast. But the great event of the afternoon was the show "speechless" (pantomime) and a theater of neuropaths.

  The nervous and theatrical performances were "fashion" among the Greeks as at least mentioned by Greek and Roman writers. For many, the theater of neuropaths was the symbol of human fate. Surprised classical writers, philosophers, theologians and scientists, such as Plato, Mark Aurelius, Clementius Alexandrinos, Eusebius, Acquisite, Philonas and others make frequent descriptions of puppets and the way they were using the word. ΄΄ synonym of the Latin word marionette.

Platon in his book "The Laws" refers to the puppets saying: "Let us assume that each of us is a" nervous "(moving figure) in the hands of the gods for their own fun or because they had a serious purpose for We do not know anything about anything. The impulses that move us look like threads drawn by the gods from different directions ... "

Aristotelis  in the book "The Politics" refers to the statues of Daedalus who had the unique status of statue to have the ability to move on their own.

Oratios, the satirical last year's Flacos, and the Roman Emperor Mark Aurelius doubt the free will of man comparing him with a nervous.

The Greek puppets were made of terracotta (roasted soil - clay), candle, ivory or wood. The excellent constructions were made of silver.

An ancient Greek doll was also the source of inspiration for the birth of Fivos and Athena, the two mascots of the 2004 Olympic Games. The original statuette is a bell doll and made of terracotta (clay). Her legs are attached to her wire to her tunic trunk in such a way that she is mobile reminiscent of modern puppets. In ancient Greece, these dolls, also known as "nervous", were not just children's toys but also played a role in the lives of adults with worship and other uses, as illustrated by the religious symbols that appear in them. We still find such references from the days of Homer and Hesiod.

 Today, such a terracotta doll is hosted at the Hellenic Archaeological Museum, while there are corresponding in the Louvre and Boston as also at Berlin.

With the Roman Empire the art of neuropaths is transferred to Rome and throughout Europe. The Romans had many names for puppets: Pupae, Sigillae, Imagunculae, Homunculi.

In the 12th century. A.D. We meet the first known puppet in the history of art, prostitution, with reference to the Athenian doctor in the book of Dinosophon who reprimands the Athenians who allowed a puppet to use the scene of the Dionysus theater where Evripidis played. Archbishop Efstathios of Thessaloniki in his book Iliad's commentary describes the prostitution "Famous across the country".

A little earlier than at least 1600 puppet theaters existed in London. The artists toured all over England and gave performances to festivals and noble towers. These performances should have impressed Shakespeare quite a bit. He often mentions them, and at one point, Hamlet expresses a desire to present a puppet theater.

Reliable information on performances in France only returns to the last quarter of the 17th century. Fanchon Brioche's theater gave a performance in the royal court and created enormous excitement among the aristocratic spectators. He was even argued to repeat his show in the courtyard, instead of 20 pounds daily Brioche's nephew was less lucky. In a tour of Soletta, the dolls he presented seemed so lively that they considered him a magician. He was even hunted, at the last minute. Many people were given at the Des Bamboches Theater, founded in 1777 in Paris, but his progress caused envy among the actors of the living theater that were devalued by the new competition and at the end of the 17th century. The theater was forced to move to the festivals of the Parisian suburbs. The artists also had to oppose the Church, which he believed that the morals of the Parisian people were at risk of performances. So in the mid -18th century. The puppet theaters from France are slowly lost to Austria, Italy, Germany and later throughout Europe…