In the spring of 1907, writer and director, Edward Gordon Craig first exclaimed that the actor must exit the stage, and, in its place, we would welcome the über-marionette. The mystery behind Craig’s “puppet” creation is left unsolved to this day. What is an über- marionette? Is it a metaphor for the perfect performer? An oversized puppet? A performer inside a puppet? Multiple scholars have tried to sort through Craig’s metaphorical writings in order to figure out the construction of the über-marionette. But, perhaps instead of looking for information about its’ appearance, we should be looking for what the über-marionette would bring. Using the works of Jim Henson and the styles of puppetry used in his feature film, The Dark Crystal, this thesis is a comparative analysis and thorough exploration of the works of Edward Gordon Craig’s philosophies and Jim Henson’s practices.