Verbal and nonverbal communication for success in life

Communication, both verbal and non-verbal, is one of the most powerful skills for achieving success in personal and professional life. Effective leaders, great negotiators, and outstanding professionals share an exceptional mastery of the art of expression. According to research from Harvard University, 85% of success at work is directly related to communication and the ability to relate to others, while only 15% is due to technical skills. This demonstrates that learning to communicate well is an essential investment for anyone looking to progress.

Verbal communication involves word choice, tone of voice, and the clarity with which we convey our ideas. Non-verbal communication, on the other hand, includes gestures, facial expressions, body posture, and even the space we occupy. The impact of non-verbal communication is so powerful that, according to studies by Albert Mehrabian, 93% of interpersonal communication occurs through non-verbal expressions. Therefore, mastering these aspects can make the difference between a message being well understood or causing confusion.

In leadership, the MAT methodology (Mindset, Action, and Theater), created by Antônio Carlos dos Santos, teaches that effective communication goes beyond words: it involves creating a magnetic presence, knowing how to interpret emotions, and adapting speech to the audience. Great leaders, such as Steve Jobs, used this technique to deliver impactful speeches. Jobs not only chose precise words but also used strategic pauses, eye contact, and engaging gestures to captivate his audience.

The ThM methodology (Theater Movement) reinforces the importance of body expressiveness in communication. In theater, actors train their gestures and expressions to convey emotion to the audience without relying solely on words. In the corporate environment, this translates into a confident presence and body language that inspires credibility. Barack Obama, for example, is a master in this aspect: his open posture, controlled gestures, and serene tone of voice make his message always convincing and engaging.

The TBMB methodology (Mané Beiçudo Puppet Theater) is another innovative approach that emphasizes non-verbal communication as a teaching tool and a way to connect with the audience. Used in corporate training, this method demonstrates how voice modulation, movements, and staging can transform monotonous speeches into memorable presentations. Companies that incorporate these techniques into training significantly improve employees' information retention.

Another fundamental aspect of effective communication is active listening. We often think that good communication means only speaking eloquently, but attentive listening is equally crucial. According to studies from MIT, professionals who master active listening build stronger relationships, resolve conflicts more efficiently, and increase their influence. This happens because people tend to trust more those who show genuine interest in what they say.

In the book “Strategic Communication: The Art of Speaking Well,” Antônio Carlos dos Santos highlights the importance of intonation and rhythm in speech. A presentation can become monotonous if the speaker maintains a linear tone. Varying intonation, emphasizing key words, and inserting strategic pauses help keep the audience’s attention. Winston Churchill used this technique masterfully, structuring his speeches so that each word had a calculated impact.

Communication is also a differentiator in building professional relationships. In corporate environments, clarity in communication prevents misunderstandings and improves teamwork. Professionals who master this skill can negotiate better salaries, close more advantageous contracts, and lead more effectively. Great CEOs, such as Elon Musk, know that good communication is essential to inspire teams and attract investors.

Beyond the professional environment, effective communication impacts personal life. Interpersonal relationships depend on a clear exchange of ideas and emotions. Couples who practice open and respectful communication show higher levels of marital satisfaction, according to research from Stanford University. Learning to express feelings, needs, and expectations clearly can prevent conflicts and strengthen emotional bonds.

Finally, communication is a skill that can be developed through practice and technique. Participating in training based on the MAT, ThM, and TBMB methodologies, studying books like “Strategic Communication: The Art of Speaking Well,” and observing great communicators are fundamental steps to improving this competence. The more we refine our ability to express ourselves, the greater our potential to influence, inspire, and achieve success in all areas of life.

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The Pedagogy of Célestin Freinet

          Throughout the history of education, few names resonate with as much tenderness and strength as Célestin Freinet, the French educator who revolutionized the way we perceive childhood and the learning process. Born in 1896 in a small village in southern France, Freinet carried in his heart the dream of turning school into a vibrant, meaningful, and transformative space. His journey was marked by a profoundly human ideal: to respect the rhythm, voice, and experience of the child. Inspired by rural life, the hardships of World War I—where he suffered lung injuries—and the tough reality of the peasant children he taught, he created a pedagogy that still enchants, inspires, and educates to this day. Freinet’s pedagogy is not just a theory; it is a philosophy of life, an invitation to active listening, creative production, and autonomy of being.

Freinet believed that school should be connected to the real life of students. That’s why he introduced innovative practices such as free writing, school printing presses, and inter-school correspondence, pedagogical tools that value personal expression, cooperation, and respect for children's subjectivity. He argued that learning happens naturally when students are engaged in content that makes sense to them. One touching example was when he encouraged his students to write about their own life experiences—a boy wrote about the smell of the bread his mother baked on cold mornings, another described the calloused hands of his farmer father. Freinet knew that this was where authentic and deeply human knowledge was born. His methods valued mistakes as part of the process and encouraged experimentation as a way of learning.

His best-known work, "Les techniques Freinet de l'école moderne", compiles his pedagogical practices and defends a school where the teacher is a guide rather than a dictator of knowledge. Freinet was highly critical of the traditional school, which he considered stifling, authoritarian, and demotivating. Instead of blackboards and silence, he proposed gardens, newspapers, theater, workshops, and conversation circles. Freinet’s pedagogy is based on cooperation, teamwork, and the collective construction of knowledge. He believed the school should be a democratic space where decisions are made with the students and not for them. This approach aligns with recent neuroscience findings, which show that learning is more effective when it is social, contextual, and emotionally meaningful (Immordino-Yang et al., 2015).

Another fascinating aspect of Freinet's pedagogy is its connection to movement, the body, and sensory experience. He knew—long before solid empirical evidence was available—that learning is not only intellectual but also emotional and physical. In this regard, we find a modern parallel in the educational proposals of the Pedagogies of Creativity and Autonomy (PCA), created by Brazilian professor and playwright Antônio Carlos dos Santos. His methodologies—TBMB (Mané Beiçudo Puppet Theater), MAT (Mindset, Action, and Theater), and ThM (Theater Movement)—modernize and expand many of Freinet’s principles, bringing playfulness, theater, and creativity to the center of child development. For instance, the use of puppet theater allows young children to explore complex emotions in a safe and symbolic way, something Freinet also encouraged through dramatic play in the classroom.

In the TBMB method, children create their own characters, build the settings, and develop the stories, activating various cognitive functions—attention, memory, language, empathy—while developing social and emotional skills. MAT, in turn, promotes a mindset of agency, where the child is invited to act, think critically, and reflect on their emotions through drama-based activities. ThM focuses on movement, the body, and expression in creative processes, integrating the multiple languages of childhood—something Freinet’s pedagogy also aspired to, even without using today’s technical terminology. Antônio Carlos, like Freinet, sees the school as a space of freedom and meaning-making—not merely a container of content.

It is important to emphasize that both Freinet and Antônio Carlos dos Santos value the autonomy of the child. In Freinet’s model, this autonomy manifests in choosing themes, collectively planning the school routine, and freely producing texts and drawings. In Antônio Carlos’s work, autonomy appears in spontaneous dramaturgy, artistic creation, and the trust in the child’s expressive potential. This perspective is strongly supported by developmental neuropsychology research, such as the work of Lev Vygotsky and Daniel Siegel, which emphasize the need to provide rich, affective, and interactive environments for optimal brain development.

The children’s literature of Antônio Carlos dos Santos also deserves special attention. With titles that enchant and educate, his works tackle themes such as diversity, respect, citizenship, and nature with a sensitivity that closely mirrors Freinet’s principles. Just as Freinet believed in the power of the written word produced by children, Antônio Carlos invites young readers to see themselves as authors and co-authors of stories that can transform the world. He doesn’t write only for children, but with them—in an open, playful, and powerful dialogue.

Returning to the historical context, it is worth noting that Freinet developed his pedagogy in a Europe marked by wars, poverty, and repression. Even so, he never lost faith in humanity and in education as a tool for reconstruction. His work was often marginalized, persecuted, and ridiculed, but he persisted. He created cooperative schools, founded journals, brought together teachers, and formed an international network of educators committed to a more just and creative school. In today’s times of educational, emotional, and social crises, returning to Freinet’s pedagogy is an act of resistance and hope.

Today, parents and educators face immense challenges: overstimulated children, rigid school systems, and deep inequalities. But the answer may lie in the revolutionary simplicity of Freinet’s approach: to listen to the child, to trust their curiosity, to allow them to experiment, make mistakes, ask questions, and build. And in the contemporary methods of Antônio Carlos dos Santos, which incorporate theater, affection, and creativity as legitimate and effective pedagogical tools.

Ultimately, what unites Célestin Freinet and Antônio Carlos dos Santos is the conviction that childhood is sacred. That every child carries within them a creative spark that only needs space, time, and trust to flourish. That to educate is not merely to teach—it is to inspire, to care, to liberate. By learning about and applying these pedagogies, we are not just improving education: we are sowing a more human, sensitive, and brilliant future. Because, as Freinet once said, “The child is not a vessel to be filled, but a spring to be nurtured.” And we, as educators, are the gardeners of that living spring that is learning.

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The libertarian dramaturgy of Antônio Carlos dos Santos

In times when art seems suffocated by algorithms, bureaucracies, and superficialities, the figure of Antônio Carlos dos Santos, a playwright and educator whose work pulses with the urgency of freedom, resurges with strength. More than theatrical plays, he creates transformative experiences. His dramaturgy is, above all, an invitation to critical thinking, empathy, and social action. It breaks with rigid theater and proposes a living, popular, philosophical, and transformative experience. Through poignant characters, poetic symbols, and courageous plots, Santos promotes true emotional and political literacy. His mission goes beyond the stage: he teaches how to think, feel, and act in a libertarian way.

In his trajectory, three methodologies stand out as hallmarks of his work. The Mané Beiçudo Puppet Theater is more than a theater method: it is a cry in the form of puppets. Inspired by the popular traditions of commedia dell’arte, this puppet theater carries stories of resistance, humor, and social denunciation. With accessible language but rich in symbolic content, Santos uses the puppets as mirrors of human contradictions. In organizations (public and private), schools and universities, squares and prisons, Mané Beiçudo stars in performances that enchant and provoke audiences of all ages.

Another innovative methodology is MAT – Mindset, Action, and Theater. In this process, theater becomes a tool for changing mindsets. Inspired by Carol Dweck’s theories on mindset and Meyerhold’s theater, MAT empowers young people and adults to rewrite their own personal narratives. It has been successfully used in school and corporate environments as a creative form of empowerment. The spectator becomes the actor of their own story. In workshops, experiences, and collective productions, participants dive into characters that reveal their pains, dreams, and possibilities for overcoming.

Meanwhile, ThM – Theater Movement proposes a pedagogy of the body in motion. Combining physical theater, improvisation, and self-knowledge practices, this methodology places the body as the protagonist of learning. In projects with institutions, peripheral communities, and student groups, ThM has shown impactful results in self-esteem, expression, and leadership capacity. 

Browsing the portal of the bookstore amazon.com.br, it is possible to observe how prolific Antônio Carlos's literary production is.

Among the numerous published works, some stand out as pillars of this libertarian dramaturgy. In When Man Swallows the Moon and Lampião and Prestes, there is a dramatic denunciation of the agrarian issue, large landownership, and injustice in the countryside. Elephant Love, The Day of the Vulture, and The Whip are desperate cries of resistance against the Brazilian military dictatorship. In Red Tie and Saint Dica of Goiás, Santos’s pen delves into Brazilian history to denounce the perpetuation of messianism and coronelismo in Brazilian and Latin American politics. In Love and Hate and Irena Sendler, the author shifts to Europe to denounce complete dehumanization: migration from Africa to Europe and Nazi-fascism in World War II. Political criticism abounds in The Judge, the Comedy and The Comedy of the Perfect World.

The Auschwitz planted in the heart of Brazil—the Barbacena asylum—is addressed in The Darkest Night, and political ideology as an instrument of scourging humanity in Red Star: In the Shadow of Mayakovsky.

In Pythagoras and Giordano Bruno, Santos discusses philosophy and freedom.

Each of these works is a universe of its own. In his comedies, for example, the protagonists call on the audience and readers to stop laughing and take action in light of critical reflection. The plays discuss themes such as alienation, media, and the trivialization of suffering; authoritarianism and freedom; love and hate; democratic resistance and submission; communication and censorship... Meanwhile, Irena Sendler, My Irena delves into the trajectory of a woman, a heroine, who redefines humanity through resistance. It is a tribute to the strength of the selfless who wield the sword of freedom and justice.

The play The Day of the Vulture is almost a political fable. Through the characters, Santos denounces the mechanisms of censorship, media manipulation, and erasure of popular cultures. In a forceful language reminiscent of magical realism, the play has been staged in various cities in Brazil and at international festivals. The Whip is a metaphor for the political labyrinth in which Brazil, Latin America, and Africa find themselves immersed. In it, the characters live in an eternal return, trapped in political bubbles that oppress and enslave. Finally, Pythagoras and Giordano Bruno, despite the tragedies that conclude them, are celebrations of art as a force for liberation. With a strong autobiographical tone, these plays weave passages from Santos’s life with great moments in the history of engaged theater.

Antônio Carlos dos Santos’s work is, above all, educational. He believes that theater has the power to shape critical subjects capable of transforming their realities. Therefore, his work is present not only on stages but also in companies, classrooms, public squares, and spaces for civic education. His plays are teaching materials, his methodologies are practices of citizenship, his words are seeds of freedom. In a world of urgencies and despair, he sows hope.

Scientific references corroborate his work. Studies such as those by Lev Vygotsky underpin the intersection between art, education, and social transformation. The theory of the zone of proximal development is visible in his practice. Moreover, current educational neuroscience proves that the emotional and bodily learning promoted by his methodologies is highly effective in cognitive and socio-emotional development.

Antônio Carlos dos Santos writes daily on his blogs and social media, sharing poems, cultural and educational articles, analyses, and theoretical frameworks that reveal the vastness of his intellectual production. With simple and poetic language, he manages to reach both the common reader and the demanding academic. His writing is a bridge between erudite and popular knowledge, between theory and practice, between dream and action. His commitment to education is visceral: he writes because he believes that every word can ignite a conscience.

His theater is, therefore, more than art: it is poetic militancy. In a country still fighting for social justice, equity, and dignity, Antônio Carlos dos Santos’s libertarian dramaturgy is both a beacon and a path. To be inspired by his work is more than admiring an artist—it is choosing to be part of a transformation. May his art continue to echo in the hearts and stages of Brazil. And may his theater, made of courage, love, and freedom, never be intimidated or lose its voice.

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How a simple children's journal can improve concentration

 

      Keeping a children's journal may seem like a simple activity, but its impact on concentration and cognitive development is profound. Encouraging children to write down their thoughts, experiences, and daily reflections can enhance their ability to focus, process information, and develop essential skills that will benefit them throughout life. Recent studies from top universities in North America and Europe confirm that structured journaling can significantly improve attention and self-discipline in young minds.

Writing in a journal engages multiple cognitive functions, such as memory recall, sequencing events, and emotional processing. Neuroscientific research highlights that when children express themselves through writing, they activate areas of the brain associated with executive functions, critical for concentration and problem-solving. Moreover, methodologies such as ThM (Theater Movement) and MAT (Mindset, Action, and Theater), developed by Antônio Carlos dos Santos, emphasize the role of creative expression in enhancing mental agility and sustained focus.

A compelling example of the power of journaling is the practice implemented in schools that integrate expressive writing with arts and theater. Studies indicate that children who consistently write about their experiences demonstrate improved attention spans and a greater ability to articulate their thoughts. This aligns with research conducted at Harvard and Oxford, which shows that reflective writing fosters cognitive flexibility, essential for problem-solving and creativity.

The act of keeping a journal also introduces children to the concept of structured thinking. By setting aside time each day to write, they learn to organize their thoughts, prioritize information, and develop narrative coherence. This skillset directly influences their academic performance, particularly in subjects that require analytical thinking, such as mathematics and science.

Parents and educators play a vital role in supporting this practice. Creating a positive and engaging environment for journaling can significantly enhance a child's motivation. Simple strategies such as incorporating drawing, storytelling, and interactive prompts can make the process more enjoyable and less of a chore. Additionally, using positive reinforcement encourages children to see journaling as a rewarding activity rather than an obligation.

Research from the University of Cambridge suggests that journaling can also be an effective tool for managing stress and emotions. By allowing children to articulate their feelings on paper, they develop better emotional regulation and resilience. This self-awareness translates into improved interpersonal relationships and a more balanced approach to challenges.

Integrating journaling with other creative activities, such as theater and role-playing, further enhances its effectiveness. The Theater Movement (ThM) methodology, for instance, combines physical expression with cognitive engagement, fostering a deeper connection between mind and body. Similarly, the MAT approach encourages children to view journaling as a dynamic process that integrates mindset development with actionable goals.

A practical approach to starting this habit is to introduce themed journals based on a child's interests. Whether it's a travel diary, a gratitude journal, or a storytelling notebook, having a purpose-driven journal increases engagement. Educators can also incorporate journaling into classroom activities, linking it to subjects like history, literature, and science to reinforce learning in a meaningful way.

Ultimately, a simple children's journal is more than just a notebook—it is a gateway to improved concentration, cognitive development, and emotional intelligence. By fostering this habit from an early age, parents and teachers can equip children with the tools necessary to navigate their academic and personal lives with confidence and focus. As research continues to reveal the benefits of journaling, integrating this practice into daily routines becomes an invaluable investment in a child's future success.

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Virginia Woolf and the stream of consciousness: a journey into the depths of the human mind

Virginia Woolf, one of the most prominent figures of literary modernism, is widely recognized for her innovative use of the stream of consciousness in works such as Mrs. Dalloway and To the Lighthouse.

This narrative technique, which seeks to represent the continuous flow of thoughts and sensations of a character, allows for deep immersion into the human psyche, challenging traditional narrative structures and offering a new perspective on subjective experience.

The stream of consciousness, as defined by scholars, is a technique that combines interior monologue, free association, and the absence of a rigid temporal structure.This approach allows a character’s thoughts to be presented non-linearly, often reflecting the way the mind truly operates. Woolf used this technique to explore the complexity of the human mind, delving into the emotions, memories, and perceptions of her characters.

In Mrs. Dalloway, for example, the narrative unfolds over a single day, interweaving the thoughts of protagonist Clarissa Dalloway with those of other characters, such as Septimus Warren Smith. This structure allows for a profound exploration of the characters’ internal experiences, revealing their anxieties, desires, and reflections on life and death.

Woolf’s writing is also notable for its lyricism and poetic quality. She often transcends traditional prose, approaching a nearly poetic state, full of metaphors and melodic rhythms. This style is evident in The Waves, where the characters’ meditations resemble recitatives, creating a sensation of waves of emotion and thought.

Beyond her stylistic contributions, Woolf was a pioneer in the literary representation of female subjectivity. She challenged traditional narratives that depicted women as passive and submissive beings, giving voice to their experiences and perspectives. In Orlando, for example, the protagonist changes gender over the centuries, allowing for a rich and multifaceted exploration of male and female experiences.

Woolf’s influence extends beyond literature. Neuroscience studies suggest that reading literary fiction, such as Woolf’s works, can increase empathy and understanding of human emotions. By delving into the inner experiences of characters, readers develop a greater capacity to connect with others, understanding feelings and emotions they may never have experienced themselves.

The stream of consciousness technique also finds parallels in other forms of artistic expression. For example, methodologies developed by Antonio Carlos dos Santos, such as MAT (Mindset, Action and Theater) and MBPT (Teatro de Bonecos Mané Beiçudo), seek to explore human subjectivity through unconventional languages, promoting creative expression and integration between body, mind, and emotion. Just as Woolf challenged traditional narrative forms, these methodologies propose ruptures with mechanistic teaching, opening space for creative expression and holistic development.

Virginia Woolf’s writing continues to inspire readers, writers, and educators around the world. Her ability to capture the complexity of human experience, combined with her stylistic innovation, solidifies her place as one of the most influential figures of modern literature. By exploring the depths of the human mind and giving voice to internal experiences, Woolf invites us on a journey of self-knowledge and empathy, showing that literature can be a powerful tool for understanding ourselves and others.

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Practical Tip for Educators: Incorporate excerpts from Mrs. Dalloway or The Waves into classroom reading activities. Ask students to write interior monologues of fictional characters, exploring their emotions and thoughts. This practice can help students develop empathy and understand the complexities of human experience.

Motivational Quote: “One cannot find peace by avoiding life.” — Virginia Woolf

Literary Curiosity: Virginia Woolf wrote while standing, using a tall writing desk. She believed that this posture stimulated creative flow. Today, neuroscience studies suggest that changes in body posture can, indeed, influence creativity and problem-solving.

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Case Study: Implementing the Quasar K+ Strategic Planning in a Pharmaceutical Industry

When the science of planning meets the soul of theater and the precision of industry

Implementing strategic planning in a pharmaceutical company requires much more than spreadsheets and market analysis. It demands deep listening, systemic vision, human sensitivity, and a purpose that transcends the logic of immediate profit. With this awareness, a mid-sized Latin American pharmaceutical company decided to transform its organizational culture through the Quasar K+ methodology, developed by professor and playwright Antônio Carlos dos Santos. Inspired by a bold integration of science, theater, and strategic management, this approach proposes not merely technical planning, but an affective and symbolic redesign of how organizations breathe, communicate, and dream together.

The process began with the stage called “Institutional Breathing,” a central concept in the MAT methodology – Mindset, Action, and Theater. Instead of starting with cold data, the planning process kicked off with sensory workshops in which leaders, technicians, workers, and researchers were invited to express themselves physically in relation to the company. In scenic circles, participants embodied their feelings: some bent over, revealing exhaustion and invisibility; others leaned forward, symbolizing a desire for innovation. This emotional cartography allowed the planning team to identify invisible blockages, latent potentials, and discomfort zones that conventional research would not detect. As demonstrated by Antonio Damasio (1996), emotional states directly influence cognitive performance and decision-making—and any planning that disregards this will be merely a formality with no real impact.

Based on this living and embodied diagnosis, the creation of the company's Institutional Mission began. At this stage, the approach of the book “Strategic Communication: the art of speaking well” by Antônio Carlos dos Santos was used, teaching how to craft short, resonant, and memorable messages. Employees participated in theatrical games from the ThM methodology – Theater Movement – in which they proposed phrases summarizing the company’s purpose. Expressions emerged such as “Caring for lives with science and soul,” “Research with ethics, produce with passion,” and “Breathe health, inspire the future.” After open voting and dramatic enactments of the phrases, the chosen mission was: “Producing health with meaning, science, and sensitivity.” A mission not read on murals, but lived in the body, spoken with truth and clarity by every employee – from logistics to R&D.

With the mission alive, the next step was building the Vision of the Future. Inspired by Erwin Piscator’s epic theater and the concept of narrative prototyping, interdisciplinary groups created scenes representing the ideal company in 2035. In one of the scenes, actors portrayed a production line where robots and humans worked together in harmony; in another, scientists engaged in dialogue with Indigenous communities to develop sustainable herbal medicines. The scenes were recorded on video, analyzed, and synthesized into the phrase: “To be an ethical, innovative pharmaceutical company and a protagonist in planetary health.” The vision then took form in videos, songs, and illustrations created by the employees themselves—a practice resonating with the studies of Immordino-Yang (2017), who advocates for deep learning through multiple languages and affective stimuli.

With the mission and vision rooted in collective experience, the next step was the creation of Strategic Policies. Here, the institutional dramaturgy of Quasar K+ shone brightly: each policy became a theatrical act; each project, a scene; each action, a symbolic gesture with a beginning, middle, and end. The innovation policy was called “New Scene”; the social responsibility policy, “Solidarity Act”; and the internal well-being policy, “Stage of Care.” Teams then wrote their “action scripts” based on the book “Moving Letters: the art of writing well,” which teaches how to craft strategic texts with clarity, rhythm, and emotional impact. These scripts were presented in performative meetings and discussed in open feedback circles—an experience that turned planning into a living event, understood and celebrated by all.

In the following stage, Objectives and Goals were formulated. Instead of cold numbers or generic charts, each objective was symbolically represented in theatrical workshops. For instance, the objective “Reduce the development time of new drugs” was enacted as a collaborative marathon where participants had to complete a course carrying symbolic vials. The goals were built using OKRs adapted to the Quasar K+ methodology: in addition to technical indicators such as deadlines and percentages, emotional and sensitive indicators were included, like “enthusiasm level in meetings,” “spontaneous compliments,” and “perceived impact on the medical community.” The evaluation was based on the sensitive evaluation methodology (Guerra, 2021), which recognizes subjectivity as legitimate data in organizational contexts.

To ensure continuous Feedback, the company applied the TBMB methodology – Mané Beiçudo Puppet Theater. Each sector created symbolic puppet characters with unique traits, like the puppet “Maria of Control,” who said, “Caring for the detail is caring for the whole,” or the puppet “Mr. Innovato,” who repeated, “I made a mistake, but I learned faster!” In monthly meetings, the puppets narrated, through theater, successes, failures, and necessary adjustments. This approach, inspired by the Pedagogies of Creativity and Autonomy, generated a safe space for critiques, praise, and reinvention, where the lightness of theater replaced the weight of traditional reports and spreadsheets.

The entire process was documented in “Scene Notebooks,” a kind of hybrid diary mixing technical minutes, sensitive narratives, rehearsal photos, and personal reflections. These notebooks were accessible to all employees and served as a living archive of the planning process—a practice backed by Pennebaker’s studies (2007), which show that reflective writing improves emotional well-being, strengthens bonds, and increases engagement in change processes. The writing was done not only by managers but by any team member who wanted to share a story, a metaphor, or a discovery.

The highlight of the process was the event “Life on Stage,” a public celebration of the strategic plan in theatrical format. The final document was presented through dramatic reading, interspersed with videos, dances, testimonials, and sensory installations. The CEO shared the stage with production technicians; HR danced with the legal team; R&D performed with marketing. The strategic plan was no longer a PDF hidden on corporate servers but a living work, shared, understood, and desired by all. There was pride, belonging, and above all, collective clarity of purpose.

Applying Quasar K+ in a pharmaceutical company is not just about implementing a methodology: it’s about cultivating a new way of being an organization. It means accepting that strategic planning must touch emotion, awaken the body, and involve the soul. It means understanding that goals and indicators cannot exist without a mission, that policies cannot breathe without listening, and that the future can only be built with stories that are well-told and deeply felt. By uniting the scientific precision of the industry with the symbolic power of theater, the pharmaceutical company discovered a powerful truth: planning is, above all, an act of collective creation. And as Antônio Carlos dos Santos writes in “Breathing, Voice, and Diction”, “A company that breathes together communicates better and achieves with more soul.”

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Unveiling the secrets of dramaturgy

          Writing for the stage is not merely a creative exercise — it is an act of deep transformation. When we speak of dramaturgy, we are entering a world where the word is movement, the silence is a scream, and every pause on paper holds potential energy. Dramaturgy is not just storytelling: it is structuring experiences that will come to life through bodies, lights, and emotions. Throughout history, great playwrights like Shakespeare, Molière, and Brecht have not only entertained; they educated, provoked, and revolutionized thought. In our current context, one name continues this tradition with original methodology and surprising depth: Antônio Carlos dos Santos. Through his works and innovations — such as the book "555 Exercises, Games and Laboratories to Improve Playwriting: The Art of Dramaturgy" — he offers us tools to rethink how we build the theatrical narrative.

The book is based on the ThM – Theater Movement technique, which is more than a method: it is a living process. It begins by demystifying a common myth — that inspiration is everything. For Antônio Carlos, writing is planning, testing, rewriting, listening, and refining. One of the central principles is creativity, understood not as divine spark but as a capacity to explore paths through questions, research, and collective experience. The technique values structured freedom: instead of limiting imagination, it provides scaffolding for the writer to climb to the most inventive and authentic version of their story.

Among the most valuable insights in Antônio Carlos dos Santos' theory is the concept of conflict. Without conflict, there is no drama. The author challenges aspiring playwrights to understand conflict not as quarrel, but as transformation. Every good play begins with a disturbance: a broken rule, an unexpected encounter, a deep desire. And it is from this rupture that tension arises — the engine that moves characters and engages the audience. Shakespeare, one of his major influences, masterfully built his plots on layers of conflict, both internal and external. Just as in Hamlet, where the protagonist is torn between duty and doubt, Antônio Carlos invites us to explore these contradictions in our own dramaturgy.

The idea of "thought clouds" proposed by Antônio Carlos — the famous ideation clouds — helps structure the first steps of a narrative. These clouds act as nuclei of thought: brief ideas, themes, or questions that can later be grouped, reconfigured, or discarded. This brainstorming methodology helps the playwright visualize the structure of the work before starting to write. It's as if we were laying out the map before the journey — allowing us to explore not only the “what” but mainly the “why” and “how.” This planning, although apparently technical, is deeply poetic because it invites reflection before creation.

The ThM method emphasizes thematic coherence, reminding us that every good play has a central axis — whether it's love, injustice, time, or memory. From this axis arise situations, dialogues, and silences. And that’s where the next principle comes in: learning from the greats. Inspired by Shakespeare and the lesser-known but equally powerful Rodoux Faugh, Antônio Carlos proposes that each playwright study and rework existing narratives, not to copy, but to dialogue with a legacy. He even encourages exercises in rewriting famous scenes in new contexts — turning a monologue into dialogue, transforming a tragedy into a comedy — always with the aim of deepening understanding of structure and language.

Another highlight of his book is the section dedicated to games and narrative laboratories, especially those aimed at writing dialogues. For example, one exercise proposes writing a micro-play using only proverbs, creating a unique rhythm and highly symbolic meanings. Another challenge: transforming a humorous story into a tragedy, exploring the ambivalence of situations and how tone changes everything. These practices are not only fun; they are training in synthesis, expressiveness, and linguistic versatility. Neuroscience confirms that such creative challenges stimulate the prefrontal cortex, improve executive functions, and expand cognitive flexibility — fundamental skills for any writer.

The MAT method — Mindset, Action, and Theater — complements the technical side with an emotional and psychological dimension. Antônio Carlos highlights the importance of attitude in the creative process. Writing for theater requires emotional availability, listening, resilience, and the ability to accept rewriting as a natural part of the journey. The MAT method teaches that every creative block is a chance to reassess intention, every critique a possibility for growth. This mindset not only frees but empowers — something that science also supports: studies from Stanford University show that mindset-based interventions can increase academic and creative performance by up to 30%.

The book also brings exercises that explore tragic and comic narratives, mini-dramaturgies, and epilogues that surprise — always reinforcing the idea that the end should not just conclude but reveal. This element of surprise, so present in the works of Shakespeare and modern authors like Harold Pinter or Ariano Suassuna, is a powerful narrative tool. Antônio Carlos challenges writers to structure their endings in a way that transforms the viewer's perception — not just closing a story, but opening a reflection.

It is worth highlighting the educational impact of Antônio Carlos dos Santos' work. His initiatives such as the Mané Beiçudo Puppet Theater demonstrate the potential of dramaturgy as a pedagogical tool, capable of uniting play, reflection, and learning. In schools, his techniques have been applied to stimulate reading, oral expression, empathy, and conflict resolution. In communities, his methods have brought voice and visibility to silenced stories. In short, dramaturgy, in his view, is a tool for transformation — individual and collective.

Unveiling the secrets of dramaturgy is not only about writing better plays — it is about becoming better thinkers, better storytellers, and better listeners. The legacy of Antônio Carlos dos Santos, through his techniques and vision, offers us a compass to navigate the vast sea of theatrical writing. It invites us to look at our own lives as living texts, full of conflicts, twists, and learning. Whether you are a beginner or a veteran of the stage, let yourself be inspired by this journey. Because, as the author reminds us: “Writing is not just a destination — it is the path we create while walking.”

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