A fifth archetypes is the Japanese Bunraku puppets, still very much alive in the city of Osaka, where a national Bunraku theatre is located. Together, the five archetypes have contributed to the development of newer types of puppets, more or less related to their ancestors. These subcategories, hybrids, and mutations of the archetypes are here presented under the headline puppeteer and puppet(s) and other figures. The eight and last category is TV, video and movie puppets. 

Archetypes and younger successors live side by side in our time and age. They make up a rich diversity of theatre puppets within performing arts. As the gallery is filled with more and different puppets, more information about them will be added.

GLOVE PUPPETS
The glove puppet can be compared to a glove put on the puppeteer's hand. The puppeteer's hand movements are directly transferred to the puppet, making the movements spontaneous and immediate. The glove puppet has the advantage of being able to hold on to physical objects directly with its hands, if they are ever so short. In traditional market theatre with Kasper and Punch, these glove puppets are known for hitting with a wooden stick, almost like a baseball bat. This is an unsympathetic trait, but it is apt for fighting both thieves and police, and if necessary, also crybabies.

Agnar and Jane Mykle brought glove puppets from Paris, where they had trained with the French master Marcel Temporal[1] in 1947. Gjete kongens harer (meaning Herding the King's Hares, 1953) was the first puppetry production at Folketeatret in Oslo. Julian Strøm and his daughter Birgit were to follow the Mykles with new productions at Folketeatret. Birgit Strøm had lived in Prague (The Czech Republic) the year of 1952-53, and she was closely connected to the progressive puppetry community there. She also brought glove puppets home to Norway. At Folketeatret, later changing its name to Oslo Nye Teater (Oslo New Theatre) after merging with Det Nye Teatret (1959)[2], French and Czech glove puppets greatly influenced the puppet theatre for many years. It was later to have an impact on puppetry in other parts of the country.

NOTES
[1]Marcel Temporal (1881-1964) was a renewer of the popular French puppet theatre (the Guignol tradition).

[2] Folketeatret merged with Det Nye Teatret and became Oslo Nye Teater (Oslo New Theatre) in 1959. The puppet theatre came along, and became Oslo Nye Teater (Oslo New Theatre)'s puppet theatre (Norwegian: Oslo Nye Dukketeatret).  Julian Strøm was the puppet theatre's first artistic director, and he was succeeded by his daughter Birgit Strøm.