The Robertos Theater certainly represents one of the oldest traditions of the performing arts, not only in its Portuguese and European aspects, but also in the popular heroes of the East. In fact, the origin of this popular art form of representation goes back, in the European tradition to the 16th century Italian Commedia dell 'Arte and it does not seem unlikely that the Eastern traditions have had any influence on the evolution of this traditional type of representation. .
It is during the following century that the ambulation of artists, mainly French and Italian, provides a mixture of this type of theater, its evolution being closely related to the cultural specificities of each country. In any case, constant strokes cut across all European traditions of popular heroes: the subversive / burlesque character of texts and representations, the use of reeds that emit high-pitched sounds (both ideal for capturing the public's attention as well as for enhancing gesture synchronization) / sound, so important in creating an appearance of "life" in the little glove dolls) and, finally, the invincibility of the heroes, capable of even overcoming the worst of enemies - death. However, it is interesting to highlight the peculiarity of the Portuguese branch, since all the characters involved have a "reed voice".
In Portugal, the popular hero comes to our days with the name of D. Roberto, although, in the 18th century, there are several designations for this glove puppet theater. The prevalence of this name is, perhaps, linked to a cordel comedy with great repercussion, entitled "Roberto do Diabo" or to a well-known puppet theater entrepreneur, Roberto Xavier de Matos.

However, in spite of the Robertos theater having enjoyed a remarkable success until, roughly, in the sixties of the 20th century, not only through the pavilions that incorporated the fairs and pilgrimages, but also on the beaches and cities, it survives, today, thanks to the testimonies that came to us in a fragmentary and even controversial way, left by the master puppeteers Domingos Bastos Moura and António Dias and by the owner of one of the famous pavilions (Pavilhão Mexicano), Manuel Rosado. SAMarionetas, having had the privilege of direct contact with Mestre António Dias, one of the last popular Portuguese puppeteers, recreated, based on his testimony, two pieces - “O Barbeiro” and “A Tourada”. More recently, and seeking to preserve this traditional art form, the company has recovered three more pieces from the Robertos Theater repertoire - “A Rosa e os 3 Namorados”, “O Castelo dos Fantasmas” and "O Saloio de Alcobaça"

The intention is thus not to let Robertos' theater disappear as a Portuguese cultural heritage.