Mimmo Cuticchio (interview)

On the “paladini di Francia” cycle in historical context (e.g., Rodomonte attacking Paris becomes the foreigner occupying Palermo, why the Orlando puppet traditionally wears a tri-colored sash):


On the continued relevance of Sicilian puppet theater themes today, and the fact that if in the Middle Ages we waged war, today we continue to wage war:


On the experience of growing up surrounded by family members and paladins:


On understanding the characters through their sentiments, and on how he becomes the characters that he represents during his performances:

On his formation reading not only Giusto lo Dico and Leggio, but also the medieval and Renaissance sources (Andrea da Barberino, Boiardo, Ariosto, Pulci, et al.); on a puppet theater episode in Don Quixote:

On his teaching young people to become puppeters today:


On puppet theater in Sicily in ancient times, mentioned by Xenophon, and its timelessness:


On the language used (Italian vs. dialect) during performances; on changes made when performing for different (international) audience:


Mimmo Cuticchio demonstrating puppet theater sounds effects (improvised storm and Mimmo giving voice to Orlando entering the cave where he would find Medoro’s love poem):

Palermo, August 2002.


On giving voice to 4 female characters — Bradamante, Melissa, Alcina, ancella — in the same play (“Astolfo nell’isola di Alcina dall’Orlando Furioso”):

From the documentary Mimmo Cuticchio: L’opera dei pupi, RAI 5


See Figli d’arte Cuticchio.