The audience plays a great role, it is an important partner for me. One of my objectives in every performance is that, when it is over, I can leave the stage refreshed, in a really deep sense. I may be physically tired, but I am spiritually refreshed, enriched. Over and over again I have this same fantastic feeling and that's why am so grateful to my audience.





This construction system of his invention which he named "artistic-technical unity" is the reason why I am able to perform with solo-marionettes. The marionette is no longer built according to traditional empiric methods, but consistent with physical-kinetic laws. The operation of the marionette is determined by gravity and allows organically correct movement sequences. Kleist described this quality, in a philosophic way, in his famous essay on marionette theatre -- motion originating out of gravity, brought to perfection by the simple, involuntary impulses. Bross' conceptions came closest to my own intentions and only became feasible because of our meeting. My own further developments and inventions are based on his principles. Complicated movements must be reduced to their most simple technical common denominator in the operation of the control. In this way, manipulation becomes intuitive and the entire concentration can be directed toward the performance. The puppeteer must no longer spend his entire life practicing in order to control the awkward movements of his marionettes. My figures hardly have any uncontrolled movements, because this kinetic knowledge has been applied in their construction.



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