Long ago, when theater and ritual were one, the institutional arts established a fundamental instrument of human communication, capable of transmitting a whole socio-cultural heritage through symbols and rhythmic actions from generation to generation. These encounters between the audience and the actor (narrator) were intended to generate encounters of belonging, in other words, to generate Kinesis. Later, in the West, the Greeks broke this tradition, favoring the actor-audience division and enlarging the proxemia between one and the other. In this way, the people ceased to participate in the creative communication process. It was not until the last century that this custom was recovered again with playwrights like B. Brecht, K. Stanislavski, J. Grotowski, among others, focusing on the two essential elements of the theatrical event: the actor and the spectator.

 

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