The paper focuses on the different strategies of recently rebuilt castles (postmodern, scientific, commercial etc) and their intentional or unintentional effects of modifying medieval memory. Examples include Esztergom, Visegrád, Diósgyőr and Füzér from Hungary, Viglas from Slovakia, and Medvedgrad from Croatia.
‘Individual as well as collective memories are not photographs of what actually happened,’ says Umberto Eco. ‘They are reconstructions.’ But how can we reconstruct what was originally destined to sink into oblivion? The absence of special term for the puppet theater art during the Middle Ages makes the memory of it hazy and confused. As part of the cultural memory it gets lost in the wide range of medieval entertainers’ skills. The mechanism of political memory pushes it, together with magic tricks and trained animals, to the margins of history, stigmatizes it as not deserving to be remembered. This paper proposes to reconstruct the memory of the medieval puppet theater following little number of traces it left behind. It also poses the question of the possible influence of such reconstruction on the collective memory of the medieval theater.