The Bread and Puppet Theater (often known simply as Bread & Puppet) is a politically radical puppet theater, active since the 1960s, based in Glover, Vermont . The theater was co-founded by Elka and Peter Schumann. Peter is the artistic director. The name Bread & Puppet is derived from the theater's practice of sharing its own fresh bread, served for free with aïoli, with the audience of each performance to create community, and from its central principle art should be as basic as bread to life. Some have heard echoes of the Roman phrase "bread and circuses" or the labor slogan "Bread and Roses" in the theater's name as well, though these are not often mentioned in Bread & Puppet's own explanations of its name. The Bread and Puppet Theater participates in parades including Independence Day celebrations, notably in Cabot, Vermont, with many effigies including a satirical Uncle Sam on stilts. History Peter and Elka Schumann founded The Bread & Puppet Theater in 1963 in New York City. It was active during the Vietnam War in anti-war protests, primarily in New York City, prompting Time reviewer T.E. Kalem to remark in 1971, "This virtual dumb show is as contemporary as tomorrow's bombing raid." Many people remember it as central to the political spectacle of the time, as its enormous puppets (often ten to fifteen feet tall) were a fixture of many demonstrations. A Sicilian puppet show had inspired Schumann, and TB&PT inspired other groups across the continent, including Gary Botting's Edmonton-based People & Puppets Incorporated, which in the early 1970s also used effigies yards-high to depict political themes and social commentary in radical street theatre. In 1970 the Theater moved to Vermont, first to Goddard College in Plainfield, and then to a farm in Glover where it remains. The farm is home to a cow, several pigs, chickens, and puppeteers, as well as indoor and outdoor performance spaces, a printshop, store, and large museum showcasing over four decades of the company's work. TB&PT has received National Endowment for the Arts grants, awards from the Puppeteers of America, and other organizations. In 1984 and 1985 they toured colleges with an indoor play, The Door, which told the story of "the massacre of Guatemalan and El Salvadorian Indians [sic] and the plight of refugees trying to escape through a diabolically opening and closing door to the North." With "only minimal use of