Early history of puppet theater in Siracusa and the origin of its distinguishing features:

 

On the revival of puppet theater in Siracusa in the 1970s and its continuation until today:

 

On an ethical message as the basis of puppet theater; on the steps in constructing a spectacle:

 

On his use of both Giusto lo Dico and the original medieval and Renaissance authors (in this case, Boiardo):

 

On why he doesn’t have a favorite character and how he puts himself into each figure he develops:

 

On his project for a cycle of plays featuring Angelica, from her arrival in Charlemagne’s palace to her death:

 

On his play “Rinaldo e la grotta del drago” (based on the episode of Ranaldo at the Rocca Crudele from La storia dei paladini di Francia, originally in the Orlando Innamorato:

 

On their costume for Marchino’s widow in “Rinaldo e la grotta del drago” and on puppet costumes in general:

 

Demonstration of the puppet portraying Marchino’s widow and explanation of her features:

 

On the tragic aspects of the Rocca Crudele episode; the episodes most often performed today in Sicily, episodes he would like to develop (the love stories of Brandimarte and Fiordeligi, Ruggiero and Bradamante), and why he hasn’t staged the battle of Roncevaux:

La Compagnia dei Pupari Vaccaro-Mauceri, Siracusa, August 2002.