The sea that teaches: why children need to understand oceans

      An inspiring journey to understand how oceans shape life, culture, and the planet’s future

Imagine a world where children grow up knowing that the sea is not just a place of beauty, but the beating heart of the Earth. Teaching them about oceans opens doors to science, empathy, and responsibility for the future. Let’s dive into this adventure!

Oceans cover more than 70% of the Earth’s surface, yet for many children, they are merely a vast blue expanse seen in photos or during beach vacations. Teaching young ones about oceans goes far beyond pointing at a map or talking about colorful fish: it’s opening a window to understanding life on the planet. Oceans regulate the climate, produce over half the oxygen we breathe, and harbor biodiversity that sustains global food chains. According to a 2019 Stanford University study, marine ecosystems absorb about 25% of the carbon dioxide emitted by human activities, helping to mitigate climate change. When a child learns this, they begin to see the sea as a silent superhero, essential for our survival. This realization can spark a genuine desire to protect what is vital.

Practical Tip: Take children to watch documentaries like Our Planet (Netflix), which showcase the beauty and importance of oceans in a visual and accessible way. Follow up with a conversation about what they learned!

But why start so early? The answer lies in the child’s brain, which is like a sponge ready to absorb knowledge and shape values. Studies from Harvard University (2020) show that children exposed to sustainability concepts before age 10 develop greater environmental awareness throughout life. Teaching about oceans isn’t just about sharing facts; it’s planting seeds of responsibility. Writer and educator Antônio Carlos dos Santos, in his “Planet Child Collection,” particularly in the book My Oceans, created for children aged 2 to 10, uses playful language to introduce the importance of the seas and the challenges they face, such as pollution and global warming. The book emphasizes that oceans are not just “scenery” but living systems that connect us all. By reading stories like these, children start to understand that their actions, even small ones like avoiding single-use plastics, can make a difference.

Fun Fact: Did you know that oceans produce more oxygen than all the world’s forests combined? Thanks to phytoplankton, tiny marine organisms, the sea is the planet’s largest “lung”!

Beyond the scientific aspect, learning about oceans also opens doors to culture and history. Peoples worldwide, from Polynesian navigators to artisanal fishers on Brazil’s coast, have built their identities around the sea. Sharing these stories with children fosters empathy and respect for diversity. For instance, the story of Sylvia Earle, an American oceanographer and one of the greatest ocean advocates, can inspire young minds. At age 12, Sylvia went on her first dive and decided to dedicate her life to studying the seas. Now, at 89, she continues to fight for the creation of protected marine areas. Showcasing examples like hers teaches children that passion for something greater can change the world.

Inspiring Story: Sylvia Earle, known as the “Lady of the Oceans,” has led over 100 marine expeditions and spent thousands of hours underwater. Her message to children? “The sea is our home, and it’s up to us to protect it.”

Ocean education can also be fun and practical, especially when creative methods are used. Antônio Carlos dos Santos, through his methodologies like MAT (Mindset, Action, and Theater) and MBPT (Mané Beiçudo Puppet Theater), suggests that learning should be an engaging experience. In MAT, for example, children are encouraged to act out stories about the sea, taking on roles as scientists or activists. In MBPT, puppets like the charismatic Mané Beiçudo tell stories about ocean pollution, turning complex topics into accessible narratives. These approaches, detailed in Santos’ work, show that theater and art can be powerful tools to engage young learners. A 2022 University of Oxford study confirmed that artistic methods in teaching increase retention of environmental concepts in children by 30%.

Practical Tip: Organize a theater play at school or home where children act as marine animals or scientists. Use recycled materials to create costumes and sets, reinforcing the sustainability message.

Another reason to teach about oceans is the impact of climate change, a central theme in the “Planet Child Collection.” The book My Oceans highlights how global warming is acidifying the seas and destroying coral reefs, which are true “nurseries” of marine life. A 2023 UNESCO report warns that if greenhouse gas emissions are not reduced, 90% of coral reefs could disappear by 2050. When children learn about these issues, they not only grasp the science behind them but also develop a sense of urgency. Santos’ book proposes an epic challenge: that young readers identify solutions, such as reducing waste or supporting conservation projects. This practical approach is key to turning knowledge into action.

Motivational Quote: “No drop in the ocean is too small to make a difference.” – Antônio Carlos dos Santos, My Oceans.

Oceans also teach lessons of resilience. Consider the seahorse, which, despite its tiny size, survives in challenging environments by clinging to seaweed with its tail. Sharing stories like this with children can inspire them to face challenges with courage. Santos’ ThM (Theater Movement) methodology uses physical movement to have children mimic marine animals, connecting body and mind to learning. This type of activity not only makes teaching more dynamic but also helps children internalize values like persistence and cooperation. A 2021 University of Cambridge study showed that activities combining movement and environmental learning boost children’s self-esteem by 25%.

Fun Fact: Seahorses are the only animals where the male carries the offspring in a pouch, like a “pregnancy”! This quirk captivates children and teaches about diversity in nature.

Teaching about oceans also opens doors to future careers. With growing concern for sustainability, professions like marine biology, environmental engineering, and water resource management are on the rise. Showing children they can be part of the solution is empowering. The example of Boyan Slat, a young Dutchman who, at 18, founded The Ocean Cleanup to remove plastics from the oceans, is inspiring. Today, his organization clears tons of waste from the seas annually. Stories like this, paired with reading My Oceans, show that individual action can have a global impact.

Inspiring Story: Boyan Slat started his project with a simple idea: using ocean currents to capture plastics. Today, his technology is used in oceans and rivers worldwide.

Finally, teaching about oceans is an invitation to hope. Despite the challenges, there are signs of progress: protected marine areas are expanding, and technologies to clean the seas are advancing. The book My Oceans ends with a powerful message: change begins with everyone’s participation. Involving children in this movement ensures the next generation grows up with deep respect for the planet. As Sylvia Earle said, “Without healthy oceans, there is no healthy life on Earth.” Let’s inspire our children to be the guardians of the seas!

Practical Tip: Plant the seed of action: encourage children to write letters to local authorities requesting more ocean protection or to join beach cleanup efforts.

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"The actor's work on himself" by Stanislavski”

       The Actor's Work on Himself, by Constantin Stanislavski, is one of the most influential texts in the history of theater. It offers not only technical guidance for actors but also a deep philosophical reflection on creativity, self-knowledge, and professional growth. Stanislavski, a pioneer in theatrical methodology, revolutionized the art of acting by emphasizing psychological realism and emotional truth. His work remains a cornerstone for actors, directors, and even professionals in other fields who seek to develop their expressive potential and creative thinking.

Stanislavski wrote The Actor's Work on Himself in the early 20th century, a period of great transformation in theater. He sought to move away from mechanical and exaggerated performances, promoting instead a more naturalistic and introspective approach. His method encourages actors to explore their personal experiences, emotions, and physicality to create authentic and deeply human characters. The book details exercises and reflections aimed at training the actor’s body and mind, fostering self-awareness and artistic sensitivity.

Beyond the stage, the principles outlined in Stanislavski's work have profound implications for creativity and professional growth. His emphasis on continuous learning and personal exploration resonates in various professional fields. For instance, leaders and entrepreneurs who adopt his techniques develop greater emotional intelligence, communication skills, and adaptability. Just as an actor refines their craft through constant rehearsal and analysis, professionals in any area can benefit from a mindset of continuous improvement and self-reflection.

One of Stanislavski's fundamental concepts is the "magic if," which prompts actors to imagine themselves in hypothetical situations to elicit genuine emotional responses. This exercise is not limited to acting—it is widely used in psychology and leadership training to develop empathy and problem-solving skills. By embracing the "magic if," individuals can navigate complex interpersonal relationships and professional challenges with greater awareness and creativity.

Additionally, the idea of given circumstances—another key Stanislavski principle—helps actors understand the specific conditions influencing their characters’ actions. This principle applies to professional settings as well: understanding the context of a situation allows individuals to make informed and strategic decisions. Whether in theater or business, recognizing the underlying factors that shape interactions and behaviors is crucial to achieving success.

The legacy of The Actor's Work on Himself extends beyond traditional theater. Many contemporary training methodologies, such as Antonio Carlos dos Santos’ MAT (Mindset, Action, and Theater) and ThM (Theater Movement), draw inspiration from Stanislavski’s insights. These approaches integrate theatrical exercises into corporate training, educational programs, and leadership development, demonstrating how performance techniques can enhance confidence, adaptability, and creative thinking in various domains.

Moreover, Stanislavski’s concept of emotional memory—using past experiences to fuel onstage performances—has parallels in personal and professional development. By revisiting and analyzing their own experiences, individuals can cultivate resilience, refine their emotional responses, and strengthen their communication skills. This self-reflective practice is particularly valuable in high-pressure environments where emotional regulation and authenticity are critical.

Stanislavski’s impact on contemporary theater is undeniable. His methodologies continue to shape acting schools worldwide and influence the ways in which actors approach their craft. However, his insights also hold value beyond the theater. Professionals who integrate these principles into their work find themselves better equipped to handle uncertainty, express themselves effectively, and approach challenges with creativity and emotional intelligence.

Ultimately, The Actor's Work on Himself teaches that self-exploration and artistic discipline are pathways to mastery—not only for actors but for anyone striving to unlock their full potential. Through his meticulous and introspective approach, Stanislavski offers timeless lessons on creativity, self-improvement, and the power of authentic expression.

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All theories about Shakespeare's existence

 

      William Shakespeare, the greatest playwright of the English language, is one of the most influential names in world literature. His plays, sonnets, and poems have transcended centuries and continue to inspire artists, writers, and scholars. However, over the years, various theories have emerged questioning his real identity. Who really wrote the works attributed to him? Was Shakespeare a solitary genius, a collective pseudonym, or just a name used by another author? The debate continues to fascinate scholars and spark the curiosity of all those enchanted by his work.

One of the main theories suggests that William Shakespeare, the man born in Stratford-upon-Avon in 1564, was indeed the author of his works. This traditional view is defended by scholars from the University of Oxford and the University of Cambridge, who highlight historical records, references to his name, and textual evidence linking his plays to his biography. According to this perspective, Shakespeare had extensive knowledge of the world, politics, and the human condition, something reflected in his masterfully constructed plays.

However, some critics argue that a man of modest origins and little formal education could hardly have accumulated the level of erudition and literary sophistication found in his works. This questioning gave rise to alternative theories suggesting that Shakespeare was, in fact, a pseudonym used by another writer. One of the main candidates is Edward de Vere, the 17th Earl of Oxford. This theory, widely defended by American academics such as Joseph Sobran and Charlton Ogburn, argues that De Vere possessed the linguistic and cultural knowledge necessary to write such refined plays.

Another intriguing theory suggests that Francis Bacon, a philosopher and essayist of the 16th century, was the true author of Shakespeare's works. Proponents of this hypothesis, such as the Bacon Society group, believe that the plays contain encoded messages indicating his authorship. Furthermore, they highlight that Bacon had an exceptional command of rhetoric and philosophical thought, characteristics present in Shakespearean texts.

The hypothesis of Christopher Marlowe presents an even more mysterious scenario. Marlowe, a contemporary of Shakespeare and also a playwright, supposedly faked his own death to continue writing without political persecution. According to this theory, supported by scholars like Calvin Hoffman, Shakespeare was merely a facade name to protect Marlowe, who lived under threats due to his controversial opinions.

There is also a less conventional theory that points to a collective effort in the creation of Shakespeare's works. According to this line of thought, various figures of the Elizabethan aristocracy, including writers and intellectuals of the time, anonymously contributed to the texts, using Shakespeare's name as a kind of literary "brand." This hypothesis is supported by some researchers at Harvard University, who have analyzed stylistic patterns and concluded that there are multiple "voices" in Shakespearean works.

Advancements in textual attribution science have brought new perspectives to this question. Recent studies conducted by European and North American universities, using artificial intelligence and computational analysis, suggest that Shakespeare may have collaborated with other playwrights, such as Thomas Middleton and John Fletcher. These discoveries reinforce the idea that the Elizabethan theater was an environment of intense artistic collaboration.

Regardless of Shakespeare's true identity, the impact of his works is undeniable. His plays continue to be performed worldwide, his verses are still quoted and analyzed, and his influence persists in various fields of knowledge. The mystery surrounding his existence only adds another layer of fascination to his work, making his figure even more intriguing for scholars and literature enthusiasts.

Thus, whether he was a solitary genius, an aristocratic pseudonym, or a collective name, what truly matters is the grandeur of his words and ideas. The doubt about his identity does not diminish his importance but rather strengthens his legend. As Shakespeare himself would say: "What's in a name? That which we call a rose, by any other name would smell as sweet."

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10 simple exercises to turn children into true public spending watchdogs

      In a world where transparency and fiscal responsibility are increasingly valued, educating children to become conscious and critical citizens is an essential mission. From an early age, we can introduce concepts of citizenship and financial management in a playful and educational way, preparing children to be true watchdogs of public spending in the future. This article presents ten simple exercises that can be incorporated into the daily lives of parents and educators, inspiring and motivating children to become engaged and responsible citizens.

The first exercise is the "Expense Diary," where children are encouraged to record their small daily expenses, such as snacks or toys. This exercise helps develop financial awareness and the importance of monitoring expenses, a fundamental principle in overseeing public resources. Studies from the University of Cambridge indicate that financial habits begin to form around the age of seven, making this practice even more relevant.

Another effective exercise is the "Budget Game," where children receive a fictitious amount of money and must decide how to spend it across different categories, such as food, education, and leisure. This game teaches the importance of prioritizing and allocating resources efficiently, essential skills for managing public finances. The MAT (Mindset, Action, and Theater) methodology, developed by Antônio Carlos dos Santos, can be applied here, encouraging children to adopt a mindset of responsibility and planning.

The "Decision Theater" is an exercise that uses dramatization to explore the consequences of different financial decisions. Children can act out situations where they need to decide between spending or saving, promoting reflection on the impact of their choices. This exercise not only develops decision-making skills but also promotes empathy and understanding of the complexities involved in managing public resources.

The "Fiscal Treasure Hunt" is a fun activity where children search for examples of public spending in their community, such as parks, schools, and hospitals. By identifying and discussing these examples, children learn about the importance of taxes and how they are used for the common good. This exercise can be enriched with visits to public places, providing a practical and educational experience.

The "Citizenship Project" is an initiative where children choose a problem in their community and develop a plan to solve it, considering the budget and resources needed. This project teaches planning and execution skills, as well as promoting civic engagement. Research from Harvard University shows that hands-on learning projects significantly increase students' involvement and understanding of social issues.

Another valuable exercise is the "Policy Debate," where children discuss different public policies and their impacts. This exercise develops argumentation and critical thinking skills, essential for analyzing fiscal policies. The ThM (Theater Movement) methodology can be integrated here, using movement and body expression to enrich children's communication and understanding.

The "Tax Game" is an activity where children simulate the collection and use of taxes in a fictional community. They learn about the importance of taxes and how they fund essential services. This game can be adapted for different age groups, making it a versatile tool for fiscal education.

The "Conversation Circle" is a space where children can share their opinions and ideas on how to improve their community. This exercise promotes active listening and respect for others' opinions, fundamental skills for democratic dialogue and citizen participation.

The "Sustainability Challenge" is an activity where children are encouraged to find ways to save resources at home or school, such as water and energy. This exercise teaches the importance of sustainability and responsible resource management, principles that also apply to fiscal management.

Finally, the "Citizenship Diary" is a space where children can reflect on their experiences and learnings related to citizenship and resource management. This diary promotes self-reflection and the development of critical awareness, preparing children to be active and responsible citizens.

In conclusion, educating children to become watchdogs of public spending is a task that begins with small steps and daily practices. By incorporating these exercises into everyday life, parents and educators can inspire and motivate children to become conscious and engaged citizens. The MAT and ThM methodologies offer innovative approaches to integrating these concepts into early childhood education, preparing future generations to face the world's challenges with responsibility and creativity. Therefore, it is time to embrace this mission and cultivate a new generation of citizens committed to the common good.

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Innovation, play, and purpose in today’s preschool classrooms

          Unlocking creativity and emotional intelligence through theater, movement, and storytelling

In a world where everything changes in the blink of an eye, early childhood education is undergoing a transformation like never before. Discover how modern neuroscience, creative play, and innovative teaching strategies are shaping the minds and hearts of the next generation.

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Children are naturally curious, eager to explore the world around them. But in recent years, early childhood education has evolved to not only respond to this curiosity but to cultivate it using cutting-edge research in neuroscience, psychology, and pedagogy. No longer restricted to rote learning or overly structured curricula, today’s preschool environments are becoming spaces of discovery, imagination, and emotional growth. And at the forefront of this transformation are educators inspired by science and the arts—especially the pioneering methodologies of Brazilian educator and researcher Antônio Carlos dos Santos.

From the University of Harvard to Stanford, recent studies emphasize the importance of brain plasticity in early childhood. Children learn best when they engage their emotions, bodies, and creativity. This is why approaches like Theater Movement (ThM) and Mindset, Action & Theater (MAT), developed by dos Santos, are gaining international recognition. These methods align with research from Yale’s Child Study Center and MIT’s Media Lab, highlighting how movement, dramatic play, and emotional expression enhance cognitive development and long-term learning outcomes.

Motivational Quote
“A child’s imagination is not a luxury—it is a doorway to deeper understanding.” — Antônio Carlos dos Santos

Imagine a classroom where puppets aren’t just toys, but powerful tools for social and emotional learning. In dos Santos’ Mané Beiçudo Puppet Theater (MBPT), children create their own narratives through handmade puppets, gaining confidence and empathy in the process. Teachers report that even shy or non-verbal children begin to open up, speak freely, and express their feelings. This aligns with a growing body of evidence that puppetry enhances language acquisition and emotional regulation (University of Oxford, 2023).

Inspiring Story
In a preschool in Lisbon, Portugal, a young girl with selective mutism began speaking for the first time during a puppet theater activity based on the MBPT method. The puppet became her voice—and eventually, she found her own.

Another transformative concept is Theater Movement (ThM), which integrates expressive body movement with narrative construction. Instead of traditional storytelling where children sit and listen passively, ThM invites them to embody characters, explore space, and create meaning through movement. Neuroscientific research (UCLA, 2022) confirms that physical activity directly stimulates memory retention and executive function in young learners.

In the method Mindset, Action & Theater (MAT), children are encouraged to see mistakes as part of the creative process, to act out problems, and to rehearse resilience. It’s not about performance, but about mindset—about giving children the psychological tools to navigate challenges, cooperate with peers, and believe in their own capabilities. In many ways, MAT echoes Carol Dweck’s theory of the growth mindset, but with an added theatrical flair.

Practical Tip
Turn daily routines into imaginative play. Ask your child to “act out” brushing their teeth as a superhero or animal. This theatrical approach makes mundane tasks fun and neurologically engaging.

The literature created by dos Santos also plays a pivotal role in this pedagogical renewal. His children’s books are full of lyrical narratives that promote autonomy, creativity, and cultural awareness. These stories are used not only for reading practice but as launching pads for role-playing and creative dialogue. It's a fusion of literary art and child psychology—a holistic model now being adopted in classrooms across Brazil and reaching Europe and North America.

Curiosity Corner
Did you know that children who participate in theater-based learning activities show up to 20% greater improvement in language fluency and emotional recognition? (Cambridge Early Learning Study, 2022)

Educators and parents alike are beginning to realize that innovation in early childhood education is not about technology alone. While digital tools can support learning, it’s the human connection—storytelling, empathy, play—that truly builds resilient and imaginative minds. When we incorporate movement, voice, and imagination into our teaching, we are honoring the whole child: body, mind, and soul.

In this exciting landscape of educational change, the Pedagogies of Creativity and Autonomy (PCA) developed by dos Santos offer a roadmap rooted in both science and art. With strategies like MBPT, MAT, and ThM, we are witnessing a profound shift in how children learn and how we, as adults, support that journey.

Let us dare to imagine classrooms filled with music, movement, and meaning. Let us embrace the theater of learning as a stage for life. The future of education isn’t just digital—it’s deeply human.

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Leading with intelligence: how data and creativity safeguard organizations

Discover how the fusion of science, theater, and strategic planning can revolutionize your decision-making process and shield your organization from present and future risks.

Imagine a leadership capable of foreseeing risks, acting with precision, and maintaining the human essence at the core of choices. Does it sound utopian? With advancements in neuroscience, culture, and creative strategic planning, this is already a reality.

In today's fast-paced and complex world, decision-making has evolved beyond instinctual acts. It now demands data, analysis, empathy, and, above all, preparation. Risk management, once confined to technical departments, has become an essential competency for leaders, educators, and workers aiming to thrive with security and responsibility. But how can one make rational decisions without losing the human dimension of the process? This is where interdisciplinary methodologies come into play.

Neuroscience has demonstrated that the human brain responds better to data when contextualized through narratives. Studies from Stanford and MIT have shown that decision-makers trained to interpret data via stories and simulations achieve 38% more accuracy in crisis scenarios. The integration of data and emotion, logic and symbolic language, is at the heart of Professor and researcher Antônio Carlos dos Santos's proposal, which combines theater, science, and planning in methods like Quasar K+ and MAT (Mindset, Action, and Theater).

Practical Tip
When receiving a risk indicator report, translate the data into a simple narrative: identify the "characters" involved (departments, suppliers, clients), the "conflict" (threat), and the potential "outcome" (scenarios). This theatrical technique activates the brain's dopaminergic system, facilitating decision-making.

A notable application of the Quasar K+ method occurred in a public institution facing high employee turnover and internal disorganization. Based on productivity indicators and qualitative interviews, a theatrical map of risks and solutions was constructed. Each department symbolically enacted its real problems. The impact was immediate: managers grasped the severity of risks and, supported by data and simulations, redesigned internal processes. Within six months, attrition dropped by 47%.

Curiosity
The TBMB (Mané Beiçudo Puppet Theater) method, created by Antônio Carlos dos Santos, is even utilized by crisis management teams in playful training sessions focusing on empathy and conflict resolution. The puppet's symbolic language helps expose hidden fears and risks.

Making data-driven decisions isn't merely about interpreting graphs. It's about knowing which data to collect, how to analyze it, and, most importantly, how to communicate decisions engagingly. The book "Moving Letters: The Art of Writing Well" argues that effective communication bridges technical analysis and team mobilization. Data comes to life when transformed into language that resonates and inspires.

Motivational Quote
"Leading isn't about knowing everything. It's about learning from data, acting courageously, and communicating with soul." — Antônio Carlos dos Santos

Another fundamental aspect of modern risk management is breathing. It may sound poetic, but it's neuroscientifically practical. The book "Breathing, Voice, and Diction" reveals that centered and well-breathed leadership increases decision-making capacity under pressure by up to 22%. In the MAT method, this is trained through theatrical exercises and mindfulness.

Inspirational Story
An HR manager at a major tech company, after experiencing burnout, utilized the MAT method and the author's books to redesign her routine. By introducing micro breathing and expressive reading exercises in team meetings, she observed a noticeable improvement in communication and conflict prevention. Absenteeism decreased by 30%.

We are entering a new era: one of sensitive, informed, creative, and prepared leadership. Risk management isn't about fearing the future but understanding the present with clarity. Making data-driven decisions is an act of courage, and strategic planning, when combined with art and science, becomes a powerful tool for transformation.

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The simplest way to write a play

Writing a play may seem like a huge challenge, but with the right tools, anyone can transform ideas into stories that move, provoke and stay in the memory. Antônio Carlos dos Santos, a master of theater with more than five decades of experience, offers us a simple and powerful way to create theatrical texts that pulse with life. Creator of the methodologies (1) ‘Mané Beiçudo Puppet Theater’ (TBMB), (2) ‘MAT’ (Mindset, Action and Theater), (3) ‘Theater Movement’, (4) ‘The art of dramaturgy’ and (5) ‘Breathing, voice and diction’, he teaches that the secret is to observe the world, get drunk on popular culture, structure conflicts and seduce the audience — all with a touch of boldness and humility. Imagine yourself sitting with a pad, a notebook, a laptop, watching the day-to-day life around you transform into characters and scenes. This is Antônio Carlos’ invitation: an uncomplicated way of making theater that anyone, from anywhere, can embrace. Let’s find out together how to get started.

 

The first step is to open your eyes to reality. Antônio Carlos tells us: observe, feel, criticize and create. Think of Nelson Rodrigues, who transformed the dramas of the suburbs of Rio de Janeiro into unforgettable plays, such as “Vestido de Noiva”. He saw everyday life — a neighbor’s fight, a forbidden love — and brought it to life on stage. You can do the same: look out the window, watch the street vendor discussing prices or the child playing on the sidewalk. These small moments are the fuel for your story. Neuroscience studies, such as those by John Medina, show that the human brain is programmed to pay attention to exciting and familiar details. So, start by writing down what catches your attention - it is the starting point for a text that will touch the audience.

 

Now, every good play needs a conflict, the golden rule of dramaturgy according to Antônio Carlos. Imagine a simple story: a young woman wants to open a business, but her family thinks she should get married and stay home. This clash between her dream (protagonist) and family pressure (antagonist) is the heart of the plot. It can be a social, emotional, or economic conflict — what matters is that there is an opposing force. Think of Shakespeare: in “Romeo and Juliet,” the love of young people faces family rivalry. In his text, the conflict can be minor, like two friends fighting over a piece of land, but it must be strong enough to hold the audience’s attention. Antônio Carlos teaches that it is this tension that makes the audience want to know: “And now, what will happen?”

With the conflict in mind, it is time to shape your play: beginning, middle, and end. You can follow the natural order of events — the young woman fights with her family, tries to open the business alone, and, in the end, wins (or not). This is the chronological sequence, simple and direct. But you can also play with time, as Antônio Carlos suggests in the psychological sequence. Imagine starting at the end: the young woman is already on stage, with her business bankrupt, and then the story goes back to show how she got there. This is what Tennessee Williams did in “A Streetcar Named Desire”, revealing Blanche’s past little by little. Studies on narrative, such as those by Robert McKee, show that a clear structure keeps the audience engaged. Choose the style that inspires you the most and get to work!

And the theme? Antônio Carlos reassures us: there are no good or bad themes, only the way you approach them. Take something that bothers you — the lack of water in the neighborhood, for example — and dive deep. Research, talk to people who experience this, give the plot a “social broth”. In TBMB, he uses puppets to talk about real problems, such as inequality, in a light and critical way. Imagine a play where a puppet is the dried-up river, complaining that no one helps it, while the residents discuss solutions. Contextualizing it this way, with research and reflection, makes your text gain weight. Neuroscientists like Antonio Damasio say that stories with emotional meaning activate more areas of the brain. So, transform your theme into something alive, that provokes and enchants.

Don't write alone — this is another golden tip from Antônio Carlos. Talk to friends, family, neighbors. Share your ideas and ask for their opinions. Maybe your mother suggests that the young woman in your story confront an exploitative boss, or a friend says that the ending is predictable. This is part of the MAT methodology: open mindset, collaborative action and theater as a bridge. Think of Meyerhold, who tested his plays with groups and adjusted everything to tease the audience. These conversations are like rehearsals for your writing, helping you see what works. And the best part: they connect you with the people who will, one day, see your work.

Want to seduce the audience? Create suspense, says Antônio Carlos. Make the audience stay on the edge of their seats, eager to know the next step. In your play about the young entrepreneur, leave a mystery in the air: will she give up because of a secret debt? Does the family have a hidden plan? Hitchcock, the master of suspense in cinema, said that the audience loves to be deceived - as long as they are deceived well. In theater, the trick is the same: drop clues, keep surprises. Psychology studies, such as those by Daniel Kahneman, show that curiosity activates the brain's reward system. So play with it — make your story an irresistible game.

Writing is rewriting, and Antônio Carlos emphasizes this point strongly. Don't stop at the first draft. Read your text, cut what's left over, add details. Maybe the young woman will have a braver line, or the river puppet will use a funny catchphrase. It's like polishing a diamond: each polishing reveals more shine. In the ThM methodology, our author talks about constant movement — theater is never finished, it evolves. Think of Ariano Suassuna, who rewrote “O Auto da Compadecida” several times until he found the perfect tone between humor and criticism. Rewrite without fear, because that's when your play gains soul.

Then, test your story with a dramatic reading. Gather friends, read it out loud, feel the rhythm. Antônio Carlos suggests, right after, a simple debate: what did you think of the conflict? Did the ending surprise you? Be open to criticism, like Raul Seixas singing about being a “walking metamorphosis”. Maybe a colleague says that the river puppet steals the show - great, give him more space! Studies on creativity, like those by Mihaly Csikszentmihalyi, show that feedback improves the quality of the work. These readings are the dress rehearsal for your writing, the moment to adjust the text for the big stage.

Finally, make sure to focus on the ending. A good ending stays in the audience’s mind for days, weeks, years. It can be happy, sad or unexpected - the important thing is to surprise. In your play, maybe the young woman gives up her business, but opens a school to teach others to dream. Or the river puppet reveals that the solution was in the union of the residents. Antônio Carlos wants endings that leave an impression, like the one in “Waiting for Godot” by Beckett, which leaves more questions than answers. Neuroscience shows that surprising events, according to research by David Eagleman, fix deeper memories. So, end with an impact - make your play resonate.

Writing a play doesn't have to be complicated. With Antônio Carlos dos Santos' tips - observe, criticize, create conflicts, structure, rewrite, surprise - you have everything you need to tell stories that move and transform. Grab a pencil, look around you, start today. Your life, your neighborhood, your ideas are the perfect stage. And as the MAT methodology says, it's mindset, action and theater: believe, do and celebrate. The world is waiting for your story - how about taking the first step now?

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