For several years now, the question of the co-presence of the puppeteer and the puppet on stage has become a dramaturgical issue that is increasingly present in contemporary theatre. Numerous artists such as Neville Tranter, Duda Paiva, Ilka Schönbein, Philippe Genty and the Compagnie Mossoux-Bonté have questioned the nature of this co-presence, which presents an ontological ambiguity because it confronts two beings of different essence: one is a subject, in other words a being endowed with consciousness, and the other an object, in other words a thing, which in the reality of the stage appears, or at least tries to appear, as a subject. It is not insignificant to stage human beings with one or more protagonists embodied by puppets. The ontological ambiguity of the puppet offers several possible interpretations of the puppet as a figure of the Other. My paper looks at the stage writing of two shows by the Belgian company Mossoux-Bonté, Twin Houses and The Great He-Goat, which were created twenty-five years apart. These two shows take a very different, if not opposing, approach to the co-presence of the puppet and the human being. In Twin Houses, a solo with five puppets created in 1994, the puppets appear as doubles of the character played by Nicole Mossoux. The Great He-Goat is a show created in 2019 with ten performers and several hyper-realistic puppets that appear as physically autonomous beings to their human protagonists. I will first discuss the creative and writing process of each of the two shows. I will then continue my study by comparing the figure of the Other in these two works in order to analyse how the Mossoux-Bonté company was able to create two forms of otherness between humans and non-humans through two different dramaturgies of co-presence.