When we think about theater is necessary to search, historically, the one origins ' ' to make teatral' ' that it aims at to preserve the integrity of a collective one that desires to express itself, valuing the aptitudes found in each one of the members and fomenting all the pertinent questions to the ideology of the group. This type of theater, many times classified as ' ' NEW TEATRO' ' , it appeared as a necessity of change in the archaic and elitist way that predominated the teatral scene until middle of century XX. The necessity of the formation of a made solid group and that it had a bigger concern with the artistic quality, leaving of side only the commercial character was estopim for this new theater: The process of modernization of the Brazilian scene had as decisive element the formation of steady casts and had searched a theater that was different of the romantic scene that predominated in our palcos. This movement appeared from the activity of the amateur groups that, easied, with the business of the spectacle had criticized the established spectacular forms in the commanded casts for the actors ' ' divos' '. (CAREER, 2007? p. 01) Tnia Brando (2001) characterizes this way of commercial work when affirming that this Brazilian teatral system, whose foundations retraced to century XIX and the motor one was the rude force of the actor in tune with the passions of the public, was far from being a simple gear. Authentic machine to repeat, (...) this to make teatral was reproduced for successive generations of actors. To fight this hegemonic way of theater stimulated diverse dramaturgos, encenadores and amateur actors to look new ways to make a differentiated theater, pautado in making art, leaving stop backwards the espetacularizao of famous figures with intudo of only and so only collecting ticket offices.