On the closeness of the Napoli family to their puppets and on the chivalric stories as part of their moral education:

 

On the identification of the Sicilian people with the puppets and on l’opera dei pupi as an alternative reality:

 

On the parratori of old:

 

On the art of the parratore, with examples of the voice of Charlemagne, Gano, Orlando and Rinaldo:

 

On constructing their plays today with respect to the past; on their sources (names Boiardo, Ariosto, Pulci, La chanson de Roland); and on the fact that previous parratori would not have realized that the episodes in Giusto lo Dico’s Storia dei paladini di Francia had medieval and Renaissance written sources:

 

On the occasional use of poetic and literary passages in puppet theater scripts (cites “Addio ai monti” from Manzoni’s Promessi sposi used when Orlando abandons Paris to seek Angelica in the Furioso):

 

On Giusto lo Dico’s Storia dei paladini di Francia as the Bible for puppeteers and the traditional public; on the use, however, of illustrations from published chivalric epics as inspiration for cartelli and carretti (especially from the Orlando Furioso for the latter):

 

On their use of the original (Ariostean) verses in their puppet theater:

 

On the use of written sources in their scripts:

 

On capturing the attention of audiences today; on the centrality and universality of the sentiments conveyed through the stories:

 

**

Puppets and cartelli in the workshop of the Marionettistica dei Fratelli Napoli in Catania:

Marionettistica dei Fratelli Napoli, Catania, August 2002.

See also the interview posted by iloveculture.altervista.org on April 3, 2017.