“Puppets really are the origin of theater. Even the shadow on the wall of Plato's cave was a puppet. The very first actor was some kind of hand creating some kind of animal.”

In response to Don Freeman's question: "Is the puppeteer a shy actor?"
Interview with Copley News Service (1976)

As quoted in The Social Dimensions Of Law And Justice In Contemporary India (1979) by V. R. Krishna Iyer
Context: It may be that we are puppets — puppets controlled by the strings of society. But at least we are puppets with perception, with awareness. And perhaps our awareness is the first step to our liberation. The fact that obedience is often a necessity in human society does not diminish our responsibility as citizens. Rather, it confers on us a special obligation to place in positions of authority those most likely to use it humanely. And people are inventive. The variety of political forms we have seen in history are only several of many possible political arrangements. Perhaps the next step is to invent and to explore political forms that will give conscience a better chance to resist errant authority.

Interview with Associated Press (1984)

Eres un fantoche, pero en las manos de lo infinito, que tal vez son tus manos.
Voces (1943)

De Abaitua interview (1998)
Context: A god is the idea of a god. The idea of a god is a god. The idea of Glycon is Glycon, if I can enhance that idea with an anaconda and a speaking tube, fair enough. I am unlikely to start believing that this glove puppet created the universe. It’s a fiction, all gods are fiction. It’s just that I happen to think that fiction’s real. Or that it has its own reality, that is just as valid as ours. I happen to believe that most of the important things in the material world start out as fiction. That everything around us was once fiction – before there was the table there was the idea of a table, and the idea of a table before tables was fiction. This is the most important world, the world of fictional things. That’s the world where all this starts.

Epilogue
The Sleepwalkers: A History of Man's Changing Vision of the Universe (1959)
Context: The uomo universale of the Renaissance, who was artist and craftsman, philosopher and inventor, humanist and scientist, astronomer and monk, all in one, split up into his component parts. Art lost its mythical, science its mystical inspiration; man became again deaf to the harmony of the spheres. The Philosophy of Nature became ethically neutral, and "blind" became the favourite adjective for the working of natural law. The space-spirit hierarchy was replaced by the space-time continuum.... man's destiny was no longer determined from "above" by a super-human wisdom and will, but from "below" by the sub-human agencies of glands, genes, atoms, or waves of probability.... they could determine his fate, but could provide him with no moral guidance, no values and meaning. A puppet of the Gods is a tragic figure, a puppet suspended on his chromosomes is merely grotesque.

Source: Doctor Manhattan, in Watchmen #9 (referring to Doctor Manhattans's theory of time)

Source: 1950's, Interview by William Wright, Summer 1950, p. 144

As quoted in "New York at Work; Puppeteer Creates Shows for Grown-Ups" by N. R. Kleinfield The New York Times (2 July 1991)
Context: I would never do something with just puppets... But I like the things puppets allow you to do. I had this puppet Dinah Donewell, and she had this hand puppet named Mr. Pleaser. He was her lap dog who was constantly under her skirt. Now if you did that with actors, people would be offended. But in this case, so what? It was a puppet with a puppet.