Finally, then, what is a puppet? And what is not a puppet? Where are the boundaries that separate puppets from masks, amulets, dolls, statues, automatons, and illustrations? - Puppetry: a World History, Eileen Blumenthal(1)

Tucked away inside the artistically thriving, sandstone labyrinth of Hobart’s Salamanca Arts Centre, Australia’s leading puppet-based visual theatre company is busily reshaping the art of puppetry as we know it. After twenty-nine years of creating and circulating colourful puppet shows, Hobart’s Terrapin Puppet Theatre is not about to start slowing down. Fresh from performing in Shanghai and now gearing up for shows at the Arts Centre and the Sydney Opera House, Terrapin is at the top of its game – and innovation is at the forefront of its artistic vision.

When asked why Terrapin has survived as long as it has, Artistic Director Frank Newman is certain the answer lies within Terrapin’s constitution. Drawn up at the organisations inception and oft consulted, the document champions continuous growth and challenging of conventions. Eloquently summarising the document, Newman explains that

‘Terrapin should always be at the forefront of innovation and should always be striving to create puppetry in any form that it takes.’ ‘And,’ He quickly adds, ‘that shouldn’t be a limited idea of …