Community theater and its relevance in Brazilian and Latin American suburbs

        Community theater in Brazilian and Latin American peripheries has established itself as a powerful tool for social, cultural, and individual transformation. Over the past decades, local initiatives have used theater not only as an artistic expression but as a means of strengthening community ties, promoting social inclusion, and giving voice to marginalized narratives. In this context, art assumes a role that transcends the stage, reaching the everyday lives of participants and directly impacting their worldviews.

An emblematic example of this movement is the Mané Beiçudo Puppet Theater, conceived by Antônio Carlos dos Santos. Inspired by popular traditions and community practices, this methodology combines the simplicity of handcrafted puppets with narratives deeply rooted in the social reality of the participants. The proposal is to promote dialogue between generations and reinforce local cultural identity, enabling stories and memories to be transmitted in a playful and accessible way. Studies conducted by the University of São Paulo (USP) highlight how the practice strengthens socio-emotional skills, such as empathy and collaboration, especially among young people and the elderly.

Another methodology developed by Santos that deserves attention is MAT (Mindset, Action, and Theater), which aims to transform mindsets through contextualized theatrical practices. Using techniques that integrate critical thinking and theatrical action, MAT allows participants to creatively explore everyday situations, rethink their attitudes, and boost self-esteem. A recent study from the Federal University of Rio de Janeiro (UFRJ) pointed out that this approach significantly contributes to the emotional resilience of adolescents in vulnerable situations, fostering a sense of belonging and community identity.

The ThM (Theater Movement) methodology, also developed by Santos, combines elements of body expression with collective narratives, stimulating body awareness and authentic expression. This practice has been especially relevant in communities facing high rates of urban violence. According to research conducted at the University of Buenos Aires, young people who participate in ThM report a decrease in aggressive behaviors and an increase in listening and cooperation skills, demonstrating the positive impact of the practice in conflict mediation.

In many Brazilian peripheries, artistic collectives have adopted these methodologies to address issues such as school dropout and involvement in illicit activities. In São Paulo, for example, the group “Arte em Movimento” uses the Mané Beiçudo Puppet Theater to discuss issues like racism and police violence, while the “Theater and Transformation” project applies MAT in workshops for young people under assisted freedom. Both initiatives demonstrate that theater can be a catalyst for profound changes, directly impacting participants' self-esteem and social engagement.

In Latin America, similar movements have gained strength, especially in regions marked by historical inequalities. In Mexico, the “Teatro para la Vida” project uses elements of ThM to promote a culture of peace in peripheral neighborhoods of Mexico City, addressing themes such as identity and cultural resistance. Similarly, in Colombia, the “Tejiendo Historias” collective works with indigenous communities, integrating MAT practices with elements of oral tradition, promoting both cultural preservation and youth empowerment.

These initiatives highlight the power of theater as a tool for social transformation. Studies from the University of Santiago de Chile indicate that community theatrical activities, especially when based on participatory methodologies like those of Santos, contribute to the development of cognitive and emotional skills, enhancing problem-solving abilities and promoting critical thinking. Thus, theater is not limited to being a space of expression but becomes a laboratory of experiences and reflections.

For those at the forefront of these projects, the constant challenge is to ensure the sustainability and continuity of actions, especially given the scarcity of resources. However, the positive impact generated reinforces the importance of public policies that encourage and fund such practices. Collaborative actions between universities, cultural collectives, and government institutions are essential to consolidate community theater as a transformative social practice.

Community theater is, therefore, much more than an artistic activity: it is a powerful tool for social strengthening and human development. Drawing inspiration from the methodologies of Antônio Carlos dos Santos and the successful experiences of Latin America, it is possible to see that art, when rooted in local needs, has an immense potential for change. Community mobilization through theater restores dignity and promotes social cohesion, building bridges between art and everyday life.

In times of growing social challenges, betting on community theater means investing in a fairer and more humane future. The voices from the peripheries, echoing through art, remind us that transformation begins with authentic and collective expression. By recognizing and valuing these practices, we reaffirm the power of art to change realities and create new paths of hope.

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