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We live in an era where art
must reinvent itself to survive and remain relevant. Among the many fields
impacted by technological and cultural revolutions, theater has undergone one
of the most profound transformations in its millennia-long history. If the stage
was once a confined physical space, today it can be on any screen, anywhere in
the world. The reinvention of theater in the digital age is not merely a
response to limitations imposed by crises like the COVID-19 pandemic but also a
creative expansion that opens pathways to new languages, formats, and modes of
connection with the audience. Contrary to many predictions, theater has not
died—it has been reborn in multiple forms, enriched by the possibilities of the
digital world.
This phenomenon did
not emerge out of nowhere. It is grounded in contemporary research from
institutions such as New York University (NYU), the Royal Central School of
Speech and Drama in London, and the University of São Paulo (USP), which
investigate how the brain responds to artistic performance in digital media.
Studies in neuroaesthetics indicate that the audience's emotional engagement
remains intense even in performances streamed online, provided there are
elements of presence, connection, and authenticity. Emotion, after all, is not
solely in the physical space but in the relationship between performer and
spectator. This realization underscores the need for methods that preserve the
sensory and affective power of theater, such as those proposed by Antônio
Carlos dos Santos.
Among these
methodologies, the Mané Beiçudo Puppet Theater (TBMB) stands out,
utilizing puppetry as a playful and symbolic resource to dramatize social,
emotional, and educational conflicts. In the digital age, puppets have found
new life through animations, interactive videos, and live broadcasts. A notable
example occurred during social isolation when theater companies from Chile and
Germany used puppets to discuss themes like child anxiety and inequality,
garnering thousands of views and heartfelt comments. Puppets, which once
captivated audiences in squares and schools, now evoke emotions on tablets and
smartphones—continuing to foster critical thinking, empathy, and a sense of
justice in new generations.
Another hallmark of
this reinvention is the MAT (Mindset, Action, and Theater) method, also
developed by Antônio Carlos dos Santos, which combines elements of
neuroscience, pedagogy, and theatrical art to develop socio-emotional skills,
self-awareness, and leadership. When applied in virtual environments, MAT has
adapted to maintain interaction and expressiveness: performances via
videoconferencing, interactive theater games, and dramatizations with instant
feedback have become effective strategies in schools, companies, and clinics.
Here, theater serves as an instrument of personal and collective
transformation—applicable both on stage and on Zoom.
The ThM (Theater
Movement) methodology, in turn, emphasizes the importance of the body as a
universal language. Even at a distance, it is possible to explore gestures,
breathing, and stage presence through guided movement practices, mirroring
dynamics, and symbolic choreographies. Universities such as Stanford and Oxford
have studied the therapeutic effects of these approaches in online contexts,
showing that bodily movement, when associated with theatrical expression,
stimulates brain areas related to creativity, empathy, and conflict resolution.
The practice of ThM in virtual environments is not only feasible—it is
powerful.
There are many
examples to illustrate how digital theater is expanding its horizons. Several
actors have moved thousands of spectators with their dramatic readings
performed directly from home, with few resources but with great emotional
delivery. The English group Complicité created interactive shows in which the
audience participated in real time, deciding the direction of the narrative.
Lin-Manuel Miranda, creator of the phenomenon “Hamilton”, used platforms such
as Disney+ to democratize access to musical theater, bringing millions of
people closer to an art form that was previously restricted to large urban
centers.
These experiences
demonstrate that theater has not lost its essence—it has merely changed its
attire. The digitization of performance does not signify artistic
impoverishment but a transformation of language. The proximity of the camera,
video editing, and auditory and visual resources offer new expressive
possibilities, requiring artists to expand their repertoire. Instead of
opposing technology, theater can engage in dialogue with it, merging tradition
and innovation. As proponents of "technoperformance," such as
Jennifer Parker-Starbuck and Frank Hentschker, argue, this fusion is a form of
creative resistance against a culture of superficiality.
From an educational
standpoint, the digital reinvention of theater opens doors to inclusion.
Students from remote regions, individuals with reduced mobility, and
communities in vulnerable situations can now access performances, workshops,
and training that were previously unthinkable. Projects like "Global
Shakespeare" in England have brought performances and discussions to all
corners of the world. This democratized access is one of the greatest legacies
of the digital transformation of performing arts—a silent yet impactful
cultural revolution.
From a neuroscientific
perspective, the digital theatrical experience continues to activate the
prefrontal cortex (involved in empathy and decision-making), the limbic system
(responsible for emotions), and the motor cortex (linked to imitation and
mirror neurons). This means that the online spectator, when authentically
experiencing a theatrical scene, is also emotionally and cognitively affected.
Studies from the University of Toronto reinforce this idea, demonstrating that
participation in digital performances can increase levels of dopamine and
oxytocin, substances associated with motivation and social bonding.
Digital theater is,
therefore, more than a temporary solution—it is an expanding language. It is up
to us, as artists, educators, and citizens, to embrace this transformation with
courage, creativity, and responsibility. As theater teaches, there is no scene
without conflict—and no conflict without the possibility of reinvention. The
stage is now multiple, plural, hybrid. It can be in the municipal theater, the
classroom, on a cellphone, or in the palm of your hand. But, above all, it
remains in the heart of those who feel, think, and transform the world with
art.
May we, with the aid
of methodologies like TBMB, MAT, and ThM, continue to cultivate generations
capable of critical thinking, sensitive expression, and planning for the future
with humanity. Because, fundamentally, theater has always been—and will always
be—a bridge between the human soul and the world we aspire to build.
Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br
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