This thesis portrays the family Bille who is active in the field of puppetry since more than two centuries. The starting point of this thesis was the research of Kurt Bille. Some of his editions were revised and some additional plays were edited.Firstly, a chapter presents Johann August Bille and Max Curt Bille whose biographies serve as examples for the puppet players of the family Bille. A list of the repertoire of Max Curt Bille shows the developments of the repertories of Saxon puppet theatres.The examination of “Docter Faust” (1835), written by Johann August Bille, first outlines the literary context of the puppet play. The analysis shows that this play complies, for the most part, with the traditions of the “Faust” puppet plays. But the Bille-“Faust” also contains a scene in which Faust murders his father. A comparison of one scene which shows the comic figure in action with other “Faust” puppet plays shows that the used motives are constant, but that each play has its own version of the scene. The situation regarding the source of the “Freischütz” is uncertain. The thesis examines the version of Fritz Puder whose scrap book, according to Kurt Bille, hails from the Bille family. This “Freischütz” resembles the opera very closely. The differences concern the sung parts on the one hand, gestures and facial expressions on the other hand. The reconstruction from Kurt Bille works with Puders version, the score of the Bille family and other sources. This version is even closer to the opera. Other “Freischütz” puppet plays show greater differences from the original.