I happened across On the Marionette Theatre by Heinrich von Kleist while reading the Wikipedia entry on Philip Pullman’s His Dark Materials series. Pullman had cited it as one of three influences, and it being the shortest of the three, I gave it a shot (naturally, due to my apparent “young adult” reading level that found me reading his trilogy in the first place).
The story begins with the writer having a chance meeting with a friend, and inquiring about his apparent interest in puppet theater. As the story moves on:
“And what is the advantage your puppets would have over living dancers?”
“The advantage? First of all a negative one, my friend: it would never be guilty of affectation. For affectation is seen, as you know, when the soul, or moving force, appears at some point other than the centre of gravity of the movement. Because the operator controls with his wire or thread only this centre, the attached limbs are just what they should be.… lifeless, pure pendulums, governed only by the law of gravity. This is an excellent quality. You’ll look for it in vain in most of our dancers.”
The remainder is a wonderful parable of vanity and grace.