Addressing in the theater this political thought born in the aftermath of the Second World War, its evolution, its repercussions in our political, cultural, human lives is an old desire that I took time to define in order to build a project. The many far-right parties and movements on the European continent have some differences but all share common traits, in particular their very marked social conservatism, their rejection of immigration and their nationalism. The rise of the far-right vote in Europe is linked to multiple factors, including several crises that have affected the continent in recent years. According to Le Monde Diplomatique, the far right can be defined as an ideological family of parties, movements and groups that have in common a radical critique of democracy in the name of an authoritarian, racist and nationalist ideology tending to exclude a part of individuals. Their speeches express nostalgia for a golden age, the apology of elite societies and virile strength, the fear of miscegenation, the censorship of morals and the rejection of intellectuals. The puppet, a political gesture From obvious disobedience to suggestive circumvention, from militant commitment to interested cooperation, from the offensive to strategic withdrawal, the puppet-object and the puppeteers are part of the history of acts of censorship, resistance but also propaganda. These two new creations are based on personal research as well as on the very fascinating study coordinated by Raphaèle Fleury (Doctor of Literature, Head of the Research and Documentation Center of the International Institute of Puppetry) and Julie Sermon (MCF Performing Arts, Université Lumière- Lyon 2) through the publication Marionnettes et pouvoirs: censures, propagandas, résistances. I like to confront serious and committed social issues with puppet forms. These prostheses, these plastic extensions of the actor allow me more freedom to create a disturbance, to show a materiality that lets the form explode and densifies the content, the subject through symbolic intentions that place the spectator in a constantly renewed convention on stage. Through these two projects, I wish to place the Art of Puppetry at its right level of requirement through the interpretation of the actors. First of all in a farcical and offbeat work specific to the popular and satirical puppet in Amour Gloire and Ciment. Then in a new research for L’Histoire ne pardonne pas aux peuples qui se couchént by creating a documentary theater engaged in a dialogue between human bodies and puppet bodies.