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.

MARIONETTES
The marionette is moved with strings. It is also called string marionette or string puppet. Some marionettes have a rod fastened to their heads to stabilise them, in addition to the strings. These are called rod marionettes. The movements of a marionette are performed with assistance of an intricate system of strings, steered by the puppeteer to give stage life to the puppet. There will always be a physical distance between the puppeteer and the marionette, and this will vary according to the puppeteer's position in relation to the puppet. The marionette's rhythmic expression and movements are slower and more dwelling, as twitches in the strings give a staccato movement which is rarely desired. The marionette is the puppet type that can imitate or recreate the anatomy of the human body - in miniature - to the largest degree.

Oslo Nye Teater (Oslo New Theatre)'s puppetry first introduced rod marionettes in 1971, in the production Tre ørefiker (meaning Three Ear Slaps). The director was the Czechian Karel Hlavatý,[1] who was also responsible for the stage design, puppet design and puppet making, in collaboration with Nina Martins Hlavatý.

NOTES
[1]Karel Hlavatý (1920-2014) was born in Prague and educated as a sculptor. He worked as a stage designer and director at the puppet theatre Radost in Brono, and at Skupa's marionette theatre in Prague. He was also a professor at the theatre academy in Prague. After the invasion of Czechoslovakia in 1968, he came to Norway. Hlavatý worked as a stage designer and director at several Norwegian theatres, including The Norwegian Theatre, Oslo Nye Teater (Oslo New Theatre)'s puppet theatre and at regional theatres. He also was a pedagogue at National Teachers' College for Arts and Crafts. Of the many puppets created by Hlavatý, Titten Tei is the best known. Hlavatý has been of great importance in the development of Norwegian puppetry, both in the artistic sense and the pedagogic sense.