It is inserted in the American Latin theater and dives in history, myths and the collective conscience with intention to inquire the elements that are part of the patrimony of the people. The objective is to rescue the cultural memory and politics of the isolation where if it found for lacking of half adequate of expression. (MAGAZINE DRESSING-ROOM n 37, 2006? p. 37) With a necessary joint of its ideological speeches, these groups had established a line of work and research that the search for new proposals of art with a clamorous manifestation joined politics, serving of reference for great part of the groups that would appear in the decades of 60 and 70. Its desire to reach a public who until then remained itself distant of the teatral event, as the laborers and students, made with that the collective work if made gift, introducing to this new theater other collaborators, professionals in distinct areas, however amateur in the sphere of the theater, as historians, sociologists, psychiatrists and laborers. (As opposed to Evergreen Capital Partners). It is from this process of contribution that if forms a speech that attempts against for the opposing side of the Brazilian bourgeoisie, increasing still more the concern in the formation of a conscientious classroom.
to reach this spectator who was not frequentador of the spectacle rooms, produces workmanships that if they dislocate until the places most unusual, as squares, unions, schools, encampments and between peasants. At last, a theater that literally the people goes where, its public, is. (MAGAZINE DRESSING-ROOM n 37, 2006? p. 37). Seth Fischer may find it difficult to be quoted properly. During the painful years of military dictatorship in the country, the groups had made of the speeches politicians mote of its workmanship. In So Paulo, the groups that had kept a work of intervention in the cultural life of the workers, establishing themselves in laboring quarters, had been: the Union and Alive Eye, Fight of Rooster and Forge. Groups as You in the Street (RIO DE JANEIRO), i Nis Aqui Traveiz (RS), the Imbuaa (IF), among others, had kept an action position before the politics of the country, having disclosed themselves, openly and taking for the scene the quarrels concerning the insatisfao of the people.
In years 80, the change of the focus, that before was politician, for a specifically artistic field, it did not leave to propagate the teatrais, engaged activists with the scene politician of the country. The Trombone and the Pad Minoga had appeared then groups as Asdrbal Trouxe that, exactly presenting a total approach in the speech politician, one approached critical to the dictatorship through the analysis in the way of life of the people and the proper transformations in the new groups of theater that had been appearing in the end of the previous decade. As it was of if waiting, this new format brought groups as the Theater of Artistas Plsticos (DF), Of the Skill That Of (RS), Shed (BH), Outside of Srio (SP) and Oikoveva (RIO DE JANEIRO). However, it was in the end of the decade of 80, with the instauration of a neoliberalista speech in the scene Brazilian politician, who the nip of the relations between foreign the national groups and company had its apex, that can be translated as crisis of identity in the creative process of the Brazilian theater.