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Although Carolingian epics are at the heart of the traditional Liège puppet repertoire, they remain a little explored field of research. This essay focuses on two epics, Les quatre fils Aymon and Huon de Bordeaux, which serve as case studies to examine the transition from narrative to dramatic text and its transposition for the regional puppet stage. Following the stories from the,annotated novels to the modern plays, the first part shows how the dramatisation of the prose text gradually developed. The second part examines the creation process of staging the story of the paladins of France from the point of view of regional identification, focusing on the role of Tchantchès, the typical character of the Liège puppet theatre.

La Chanson d’Esclarmonde est l’une des suites de Huon de Bordeaux transmise par le Ms. L.II.14 de la Biblioteca Universitaria di Torino. La chanson contient plusieurs points d’intérêt comme, par exemple, la réminiscence de la chasse magique conduisant le héros dans la Féérie. Cette contribution porte sur l’adaptation originale de ce motif au sein du cadre narratif de la suite turinoise. The Chanson d’Esclarmonde is one of the Huon de Bordeaux continuations transmitted by the Ms. L.II.14 of the Biblioteca Universitaria di Torino. This poem contains many points of interest, such as a reminiscence of the magic hunt that leads the hero, Huon, in a fairy world. The specific subject of this contribution is the original adaptation of this motif in the Chanson d’Esclarmonde’s narrative frame.