A puppet is a symbolic and metaphorical element of persons, shapes, animals, and plants on the stage. The character that the creator (puppet artist) and the audience have both agreed upon its appearance, is brought into imaginary life by the human actor (puppeteer) who directly controls it. Controlling or animating can be done through physical contact like hands and feet or through other movement mechanisms such as threads, wires, and wooden or metal rods. This animated figure (puppet) is nowadays controlled even electronically or remotely but can be understood as a theatrical puppet only if the performer or player is present on the other side of the cable or device.The main goal of this article is to examine Eduardo Gordon Craig’s Ubermarionette theory in Puppet Theater considering definitions since provided of actor and puppet ontology. The article also aims to examine this theory by the puppet and its puppeteer as an actor. The main question here is how the dual confrontation of the puppet and the human actor can be defined by Craig’s Ubermarionette theory. However, each of the two types of actors (puppets and humans) has its limitations and possibilities. When the puppet comes to life, the audience imagines it alive like an actor and communicates with it. Finally, with a critical look at Gordon Craig’s point of view, we examine the capabilities, limitations, and theatrical possibilities of the actor and the puppet and the possibility of replacing them with each other because we believe that the puppet and the actor are playing roles while living independently. This research has applied the descriptive-analytical method and collected data from library sources as well as authoritative articles and references available on the Internet.