Book, Women's Theater, One[LS]

The history of Theater in Brazil highlights, from an early age, the names of women: they are almost always actresses, known for their notable performance on stage and, sometimes, in Brazilian theater life itself, as is the case, for example, of Cacilda Becker. On the contrary, our Dramatic Literature only has, in the past, very few names of female theater authors. The work they eventually produced had a pronounced sporadic character and perhaps only left faint marks on our cultural development: in general, once one or two plays had premiered, the names of their creators disappeared from our stages. From the end of the 1960s onwards, however, there will be a considerable transformation in this secular panorama. For reasons and causes that are both historical and social and cultural, a significant group of writers, almost a generation (Renata Pallottini, Hilda Hilst, Leilah Assunção, Consuelo de Castro, Isabel Câmara, Maria Adelaide Amaral), turns primarily to the theater and, closely monitored by critics and the public, begins to participate on a constant and regular basis, with quality work, which has proven to be unquestionable in expanding and enriching our dramaturgical production. Women are no longer just present on the stage or in the audience, but are one of the foundations of the art of theater. This opened up a new and important public space for female performance in Brazil, which is Um Teatro da Mulher. And when analyzing her authors and works, Elza Cunha de Vincenzo reveals in her study, with the artistic and intellectual features of each of the components of this group of playwrights, the space in which their worldview is presented, as a whole. , specific and different: that of women and, in particular, that of women in our time