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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