Analysis reveals the role of orality in three Brazilian dramaturgies, suggesting new performance dimensions.
The article deals with the relationship between the written and the oral in dramaturgies published in Brazil. It presents a short theoretical path based on the Utopian Theater by Valère Novarina, the notions of Oral and Performance by Paul Zumthor, the Theory of Rhythm by Henri Meschonnic and the Theatricalization of Speech by Marion Chénetier-Alev. Analyzes three published Brazilian dramaturgies - Maré by Marcio Abreu, América by Francisco Mallmann and Farinha com açúcar ou sobre a sustança de meninos e homens by Jé Oliveira - in which the aim is to highlight the possibilities of orality and the body’s entry into language through writing, reinforcing a performance of the text, through its communion with the reader.
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Lígia Souza de Oliveira (2025) studied this question.
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