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The main objective of this article is to reread Maeterlinck’s proposals concerning marionettes in a broader context of questioning the presence of the actor on stage. It begins by analysing the author’s essay Menus propos. Le théâtre. Then, it examines to what extent the playwriter’s theatre for marionettes conforms his own theoretical proposals. Finally, it addresses the topicality of Maeterlinckian thought by referring to the theatre for androids by the Japanese writer and director Oriza Hirata, Sayonara ver.2. and Three Sisters, version Android, an adaptation of Chekhov’s famous tragedy.