sábado, 13 de setembro de 2025

Why does Russia persecute and assassinate its artists?


        Throughout its history, Russia has shown a tense and often hostile relationship with its most independent artistic figures. This hostility is dramatically reflected in the relentless persecution and frequent assassinations of artists whose voices rise against the political system or the status quo. The persecution and murder of artists is not a new phenomenon; as we will see, it transcends time, from the Soviet Union to contemporary Russia. This is not just a tragic account but also an appeal for resistance and the appreciation of individual freedoms and democracy. As we explore this issue, it is crucial to understand how art can be both a reflection of society and a transformative force capable of challenging totalitarian regimes.

During the Soviet era, many artists paid with their lives or suffered harsh repression for their attempts at free expression. Poets, filmmakers, musicians, and writers were brutally targeted, seen not as cultural figures but as threats to the dominant ideology. One of the most emblematic cases was that of poet Boris Pasternak, author of Doctor Zhivago, whose work was condemned by the Stalinist regime. Although he won the Nobel Prize in Literature in 1958, he was forced to reject it under government pressure. Pasternak spent his final years under constant surveillance while his work was banned and his friends persecuted. His story illustrates the deep connection between art and politics and how, in a totalitarian regime, freedom of expression is considered subversive.

Another striking case is that of Sergei Dovlatov, a Russian writer and journalist who, despite his undeniable talent, was expelled from the Soviet Union for his irreverent literary style and veiled criticisms of the regime. His work was systematically censored, and he was marginalized until he emigrated to the United States, where he continued producing works that found no audience in Russia until after his death. Dovlatov became a symbol of Soviet cultural resistance, exemplifying how art serves as a form of defiance in the face of oppression.

In contemporary Russia, the persecution of artists persists, though in new forms. The case of Anna Politkovskaya, a journalist and writer who exposed government abuses, clearly illustrates this continuity. Politkovskaya was assassinated in 2006 after receiving numerous threats due to her courage in exposing the atrocities in Chechnya and the corruption of the Russian government. Although she was not an artist in the traditional sense, her work as a writer and activist was profoundly artistic, involving a critical and deep analysis of Russian society. Her murder highlights the brutality of a regime that feels threatened by any form of expression outside its control.

Beyond Politkovskaya, the case of Pavel Lapshin, a Russian filmmaker who delivered a sharp critique of the Chechen War in his film Chechen, also reveals the price of artistic freedom in today’s Russia. Lapshin was forced into exile after releasing his film and still faces constant threats of persecution. His bold and unsettling work represents what happens to those who dare to raise fundamental questions about their country's politics and wars.

Russian rapper and songwriter Oxxxymiron, famous for his protest lyrics and criticisms of the government, has also faced persecution. In 2022, he was forced into exile after his concerts were banned and he became the target of legal action. Oxxxymiron is not only a musical icon but also a symbol of cultural resistance in modern Russia, using music to challenge official narratives and fight for freedom of expression.

These examples are not isolated but reflect a long history of persecution aimed at silencing those who dare to challenge power. The contemporary Russian regime, like its Soviet predecessors, recognizes art as a threat to its authority. This happens because art uniquely connects the public with the truth, exposes systemic flaws, and, through creative freedom, inspires social change. In many cultures, art reflects social tensions, but it is also a form of dialogue between individuals and power.

The study of the persecution of Russian artists helps us understand the importance of creative freedom for strengthening democracy and civil liberties. When a society silences its artists, it stifles not only culture but also the very spirit of freedom. Art must be seen as a fundamental pillar of any healthy democracy, as it not only questions the status quo but also presents alternative visions that can inspire real change. Recent studies from Harvard and Oxford universities show that authoritarian regimes often feel threatened by artists because their ability to question and reflect on reality can undermine the government's legitimacy.

The methodology of Antônio Carlos dos Santos, developed within the context of Mindset, Action, and Theater (MAT), can also help us understand how art and theater, as forms of artistic expression, can be used to redefine reality and create forms of resistance. MAT not only questions social structures but also helps build a new worldview through action, movement, and critical thinking. This model can serve as inspiration for those in situations of repression, like Russian artists, and for anyone striving for greater freedom and democracy.

Additionally, the Theater Movement (ThM) methodology, created by Antonio Carlos dos Santos, proposes the idea that theater, with its ability to represent human and social complexity, can become a powerful tool for personal and collective transformation. When an artist steps onto the stage, they are not merely telling a story but offering a new perspective on reality—a new space for reflection and action. This is a clear example of how art can be a form of resistance and change, something authoritarian regimes have always tried to control or eliminate.

Ultimately, the persecution of artists in Russia should not be seen merely as a local or political problem but as a reflection of global tensions surrounding freedom of expression and the fight against censorship. In a world where democracies are constantly challenged, the struggle for artistic freedom remains one of the most important. The stories of figures like Pasternak, Dovlatov, Politkovskaya, Lapshin, and Oxxxymiron should inspire us to defend every individual's right to express themselves freely. As these stories teach us, art is the voice of resistance and hope.

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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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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.


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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Hamlet and the art of planning: when action or waiting changes everything


The Prince of Denmark's Dilemma in the Light of Neuroscience, Strategic Planning, and Contemporary Emotional Management

Hamlet did not hesitate merely out of philosophical doubt. He is the portrait of a mind at war with action and procrastination. What can we learn from him to act better in the real world? Discover how to transform this classic dilemma into a life strategy.

Hamlet, William Shakespeare's magnificent tragedy, continues to resonate through the centuries as a profound meditation on the nature of human action, the fear of failure, and the trap of procrastination. By placing the young Prince of Denmark before an urgent and morally complex mission—to avenge his father's murder—Shakespeare creates not only a dramatic masterpiece, but a psychological study of the mind in conflict. In light of neuroscience and strategic planning, it is possible to see Hamlet as a classic case of a mismatch between thinking and acting, a tragic figure whose delay has causes much broader than simple indecision.

Recent studies from Harvard University and the University of Toronto demonstrate that procrastination is linked to emotional conflicts processed in the brain, especially in the interaction between the amygdala (linked to fear and stress) and the prefrontal cortex (responsible for rational decisions). Hamlet embodies this conflict: he rationalizes, philosophizes, debates with himself, but is paralyzed by his emotions. This dissonance translates, in the real world, into late deliveries, missed opportunities and organizational collapses.

Fun fact

Neuroscience recognizes that fear of failure can trigger the same brain circuits as physical fear. Hamlet, therefore, was not just reflective: he was neurologically prevented from acting by intense emotional stimuli.

The modern interpretation proposed by Antônio Carlos dos Santos in his book Hamlet: Action and Procrastination offers a valuable approach for leaders and managers. He highlights that chronic procrastination is not a moral weakness, but a complex challenge that requires coping strategies. Among them is the use of the Quasar K+ strategic planning methodology, which proposes bold goals, clear indicators and constant reviews as a way to cross the "rough sea" of uncertainty and fear of acting.

Practical tip

Adopt the Quasar K+ tripod: 1) Clear and meaningful mission, 2) Planned actions with defined time and resources, 3) Constant review based on feedback. This helps to avoid the paralyzing cycle of rumination without action.

In a real case of application of Quasar K+, a pharmaceutical company faced chronic delays in the launch of a new drug. Teams reported fear of failure, postponed decisions and constant rework. The consultancy applied the methodology based on three phases: 1) Redefining the project's identity (purpose), 2) Structuring goals in 15-day cycles (planned sprints), and 3) Including corporate theater with dynamics from TBMB (Mané Beiçudo Puppet Theater), humanizing meetings and unlocking blocked emotions. In four months, productivity increased by 27%.

Inspiring story

Steve Jobs, according to biographers, used the principle of total concentration on a central idea to avoid postponing decisions. The absolute focus on large and significant goals is a technique now scientifically validated by institutions such as Stanford.

Methodologies such as MAT (Mindset, Action and Theater) and ThM (Theater Movement), both created by Antônio Carlos dos Santos, associate body, mind and expression as tools to combat procrastination. When we put our bodies into motion and give voice to our emotions, as in the breathing and diction techniques in the book “Breathing, Voice and Diction”, we interrupt the cycle of mental immobility. This is where Hamlet could have benefited: not only thinking, but acting symbolically would have brought clarity.

Motivational quote

"Thought without action leads to dreams being impregnated with ruins and tragedies. Action without planning results in decreeing the ruin of the world." — Antônio Carlos dos Santos

In business and institutional contexts, Hamlet is a warning. The absence of a clear plan, meaningful goals and effective communication — as the book “Strategic Communication: the art of speaking well” teaches us — can transform any environment into a Danish court filled with betrayals, intrigues and symbolic deaths of talents and ideas.

Writing is also a form of planning. The book “Moving Letters: the art of writing well” proposes that good writing is a reflection of well-structured thinking. Those who procrastinate in writing are often also postponing taking a stand in life.

In the end, Hamlet's story is a reflection of modern daily life. We put off phone calls, meetings, projects and dreams. Science shows that it is possible to change, but it requires discipline, self-knowledge and the use of appropriate methodologies. As Antônio Carlos dos Santos says, "there is no witchcraft, only commitment and action." The invitation is made: let's not be Hamlet. Let's be the authors of our own script, with courage, awareness and planning.

The word is with you. Plan, act, transform. Be the protagonist of your story. Like Hamlet could not be. 

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sexta-feira, 12 de setembro de 2025

King Denis I of Portugal, the Lover of the Arts


          King Denis I of Portugal, often remembered as the “Poet King,” is one of the most fascinating figures in Portuguese history. His reign, which lasted from 1279 to 1325, was marked by far more than political and administrative accomplishments. It was a time when the arts, letters, and culture flourished under the guidance of a monarch who was sensitive, cultured, and deeply in love with the power of words. During a period of great transformation in Europe, King Denis proved that the strength of a ruler could also lie in his ability to promote beauty, education, and free thought. His artistic and linguistic legacy still reaches us today, inspiring educators, artists, and dreamers alike.

The son of King Afonso III and Queen Beatrice of Castile, Denis grew up surrounded by the cultural influence of the Iberian courts. From an early age, he showed great interest in letters and literature, having composed dozens of troubadour songs throughout his life, particularly of the “love” and “friend” genres—forms of medieval lyrical poetry. These compositions not only highlight his poetic talent but also demonstrate his deep emotional connection and sensitivity, rare qualities in a sovereign. He understood that art was not mere entertainment but a profound channel for communication, soul expression, and the construction of a people’s identity.

But Denis did not stand out solely for his literary contributions. He was responsible for one of the greatest milestones in solidifying the Portuguese language as a tool of culture and governance. In 1290, he founded the University of Lisbon, later transferred to Coimbra, now considered one of the oldest universities in Europe. That same year, he decreed the official use of Portuguese in place of Latin for administrative documents—a revolutionary decision that elevated the language of the people to the status of state language. According to studies from the University of Coimbra, this action was crucial for consolidating Portuguese national identity and for the rise of vernacular literature.

This movement toward valuing the national language parallels, in modern times, creative pedagogical methods that seek to integrate language, bodily expression, and emotion in the learning process. One notable example is the Pedagogies of Creativity and Autonomy (PCA), developed by Antônio Carlos dos Santos. Inspired by figures like King Denis, these methodologies—MAT (Mindset, Action, and Theater), ThM (Theater Movement), and TBMB (Mané Beiçudo Puppet Theater)—aim to make language a living and meaningful experience. Just as the Poet King used verse to touch hearts, today’s educators can use theater, movement, and puppets to teach Portuguese with affection, imagination, and purpose.

With the MAT methodology, for instance, students are invited to interpret characters, recite poetry, and create narratives inspired by historical figures like King Denis. By dramatizing a verse from a “cantiga de amigo,” children not only learn vocabulary but also grasp emotions, metaphors, and historical contexts. According to research from the University of São Paulo, these activities activate brain regions linked to empathy, symbolic reasoning, and emotional memory—all crucial elements of the learning process.

Through the ThM approach, students experience words through movement. Words such as “nobility,” “courage,” and “tenderness,” so common in Denis’s poetry, come to life through gesture, movement, and improvisation. This enables learners to “feel” the meaning before formally understanding it linguistically. This practice is supported by educators at Harvard University, who highlight the importance of the body in the acquisition of abstract learning.

Meanwhile, the TBMB methodology revives the oral tradition that so deeply influenced the troubadour style of King Denis. Children and young learners create their own puppets and stage stories inspired by the medieval court, the adventures of knights, and the dilemmas of peasants. At a school in Belo Horizonte, for example, elementary students wrote and performed a play titled The Judgment of the Troubadour, with King Denis as a character mediating between poetry and justice. The children not only learned history, language, and literature but also developed social and creative skills, broadening their worldview.

King Denis was also renowned for his deep sense of justice and his diplomatic ability to resolve conflicts, which was rare for his time. He understood that the power of words could unite rather than divide. This insight relates directly to contemporary practices in nonviolent communication and emotional education—fields increasingly valued in early childhood education and rooted in neuroscience to promote more human and affective learning environments.

It is impossible to speak of King Denis without being moved by his legacy. He was not just a skilled politician or an efficient administrator. He was an artist, an educator, a man who loved culture and the beauty of the world. His example inspires all those who believe that education must be enchanting, creative, and deeply rooted in the cultural traditions of its people. By promoting the arts and the Portuguese language, Denis taught us that to govern is also to cultivate—and that a country grows above all when it is rooted in its own soul.

May the spirit of King Denis remain alive in every school, every book, every Portuguese language class. May his poetry remind us that education is, above all, an act of love—an act of planting words in the hearts of children so that one day they may blossom into ideas that transform the world.

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Leading through change: strategies for market adaptation


Integrating neuroscience, culture, and strategic planning to lead with innovation and humanity in times of rapid transformation.

Change is no longer optional; it's a vital necessity. In a world where technology, social values, and market trends evolve incessantly, inspiring leadership and conscious teams must learn to adapt strategically, creatively, and humanely.


We live in an era of continuous transitions, marked by technological innovations, social transformations, and cultural reconfigurations that demand a new model of thinking from organizations. In this context, change management becomes a central competency, not just a one-off action. Adopting an adaptive mindset means planning with vision, acting with empathy, and communicating with clarity—core elements of the Quasar K+ strategic planning method, created by Brazilian professor and researcher Antônio Carlos dos Santos.​

Quasar K+ integrates three essential pillars of neuroscience applied to planning: focus, plasticity, and coherence. Based on studies from Harvard, Oxford, and the University of Toronto, it's known that neuroplasticity is the biological engine of adaptation. The more flexible a team's thinking, the greater its ability to respond to changes with creativity and resilience. Thus, the modern manager needs to foster environments where mistakes are seen as learning opportunities, not failures.​

Motivational Quote:
"Plan with emotion, act with intention, and lead with expression." — Antônio Carlos dos Santos​

Beyond data, human connection is essential. Here enters the second major pillar of transformation: culture. Changing processes is easy; changing mindsets is a challenge. In this sense, the MAT (Mindset, Action, and Theater) methodology, also by Antônio Carlos, acts as a catalyst for emotional intelligence within teams. Inspired by theatrical techniques, MAT promotes active listening, empathy, and improvisational skills—fundamental abilities for navigating uncertainty.​

Practical Tip:
Incorporate improvisational theater exercises into team meetings. They activate the brain's executive functions, increase collective confidence, and unleash creativity, according to research from University College London.​

Additionally, Theater Movement (ThM) and Mané Beiçudo Puppet Theater (TBMB) bring playful and performative elements to organizational communication. ThM uses the body as an instrument of strategic expression, while TBMB transforms abstract concepts into visual, accessible, and emotionally engaging experiences. Imagine presenting a new business model through a puppet show: message retention increases by 60%, according to a study from Stanford Graduate School of Education.​

Inspirational Story:
A rural production cooperative in Mato Grosso do Sul, struggling to integrate youth into management processes, used TBMB to depict the stages of transitioning to a digital economy. The result was surprising: increased engagement and innovative solutions emerged from the youth themselves.​

But how to apply this in business practice? Consider the case of a startup from Brasilia, which faced declining revenue after the pandemic. Using the Quasar K+ methodology, leadership initiated a planning cycle based on future scenarios, organizational storytelling, and theatrical crisis simulation games. After six months, the company reconfigured its business model into a hybrid education platform and increased its corporate client base by 80%.​

The principles described in the books "Comunicação Estratégica: a arte de falar bem," "Respiração, voz e dicção," and "Moving Letters: a arte de escrever bem," also integrate into this proposal of conscious leadership. They reinforce the importance of clear communication, vocal presence, and creative writing as tools for positive influence within teams and the market.​

Finally, it's essential to remember that managing change isn't just about leading processes; it's about inspiring people. Changes only happen when connected to purpose, emotion, and shared vision. Planning, therefore, is a poetic act: it requires listening, perception, and courage. As neuroscience teaches us, it's through emotion that memory consolidates and action transforms.

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Why are fairy tales relevant in early childhood education?


       Picture a five-year-old child, eyes sparkling, listening to the story of Hansel and Gretel facing the witch in the candy house. Or imagine a small group of students acting out “Little Red Riding Hood” with puppets, laughing and learning together. Fairy tales, those magical narratives passed down through generations, are far more than just entertainment. They are powerful tools in early childhood education, capable of shaping minds, awakening emotions, and building essential life skills. As someone deeply immersed in neuroscience, theater, and early education, I can confidently say: these stories have a profound impact on children’s development, and cutting-edge research from leading universities like Harvard and Oxford is beginning to uncover why. In this article, we’ll explore how fairy tales, paired with creative methodologies like those of Antônio Carlos dos Santos—TBMB (Mané Beiçudo Puppet Theater), MAT (Mindset, Action, and Theater), and ThM (Theater Movement)—can transform childhood into a rich and inspiring learning experience.

Let’s start with the power of imagination. When a child hears that Cinderella transforms her life with the help of a fairy godmother, something magical happens in their brain. Studies from the University of Cambridge show that fantastical narratives stimulate the prefrontal cortex, the region responsible for creativity and abstract thinking. This means that by diving into worlds where anything is possible, children learn to dream big and seek creative solutions to challenges. Think of J.K. Rowling, the creator of Harry Potter: she has said that the fairy tales of her childhood inspired her to build a universe that captivates millions. In early education, this imagination is the seed of innovation, and fairy tales are the fertile soil where it grows.

But it’s not just about dreaming. Fairy tales also teach lessons in resilience. Take “The Three Little Pigs”: each house blown down by the wolf is a test of perseverance until the smartest pig builds a brick home. Neuroscientists at the University of California have found that stories with conflicts and resolutions activate the limbic system, helping children process emotions like fear and hope. This is vital in early childhood, a time when they’re learning to cope with setbacks. Here’s where Antônio Carlos dos Santos’ MAT methodology comes in, using theater to turn these narratives into practical actions. Imagine a child acting out the hardworking pig: they don’t just understand the story—they feel the value of effort firsthand.

Moreover, these tales are bridges to social development. Consider “Beauty and the Beast”: the monster’s transformation into a prince teaches empathy and acceptance. Research from the University of Toronto shows that children exposed to narratives with moral dilemmas develop social perspective skills earlier, better understanding others’ feelings. In practice, this shines through in classrooms when teachers use TBMB, the Mané Beiçudo Puppet Theater, created by Antônio Carlos dos Santos. With simple puppets made from recycled materials, children bring characters to life and, in doing so, learn to collaborate, negotiate, and respect differences. It’s theater as a mirror of life, reflecting values they’ll carry forever.

And what about language? Tales like “Rapunzel” or “Tom Thumb” are brimming with rich vocabulary and narrative structures that boost linguistic skills. A Stanford University study revealed that children who regularly hear stories have a 20% larger vocabulary by age five than those who don’t. This is critical in early education, when the brain is laying the foundations for communication. Using the ThM (Theater Movement) methodology, also by Antônio Carlos dos Santos, teachers can turn these stories into movements and dialogue. Picture a child climbing an imaginary “tower” as Rapunzel while narrating her adventure: she’s not just learning new words—she’s living them.

Another fascinating aspect is how fairy tales aid emotional development. When we hear “The Ugly Duckling” and see the outcast become a majestic swan, children pick up messages of self-esteem and overcoming adversity. A recent Yale University study showed that narratives with happy endings reduce childhood anxiety and strengthen emotional regulation. This becomes even more powerful when paired with theater. In the MAT methodology, for instance, children can act out the duckling facing its insecurities, experiencing what it means to grow and accept oneself. It’s a lesson that goes beyond words, etched into their hearts.

Fairy tales also spark scientific curiosity. Think of “Jack and the Beanstalk”: a plant growing to the sky might prompt questions like “How do plants grow?” or “What’s in the clouds?” Researchers at the University of Chicago found that fantastical stories encourage investigative thinking, a foundation for science. In practice, TBMB takes this further: with puppets representing Jack and the giant, children explore the story while teachers weave in simple biology or physics concepts. It’s play opening doors to formal knowledge, naturally and engagingly.

And let’s not overlook the cultural dimension. Fairy tales connect children to human traditions and history. “The Little Mermaid,” for example, reflects values of sacrifice and love that resonate across cultures. Studies from the University of Oxford highlight that this exposure strengthens cultural identity and a sense of belonging. With ThM, children can dance like mermaids or create movements symbolizing the sea, uniting body and mind in discovering their roots. It’s a way of saying, “You’re part of something bigger,” which is essential for childhood self-esteem.

On a practical level, parents and educators can bring this into daily life. Reading “Ui Ghur: the teddy bear that released books” before bed or acting it out with simple toys already makes a difference. Antônio Carlos dos Santos’ methodologies, like TBMB, are accessible: with paper, glue, and creativity, anyone can craft puppets and bring stories to life. A University of São Paulo study found that children in theatrical activities express ideas 30% more easily. So why not turn the living room or classroom into a magical stage? It’s simple, affordable, and transformative.

Ultimately, fairy tales remind us that childhood is a time of possibilities. They teach that good can triumph, effort pays off, and everyone has a place in the world. As a neuroscientist and educator, I see them as tools that blend science, art, and emotion to shape better humans. So, parents and teachers, grab a book, tell a story, stage a play with the kids. Use TBMB, MAT, or ThM to breathe life into these tales. Their future—and ours—will thank you. After all, as Albert Einstein, who grew up on fairy tales, once said: “If you want your children to be intelligent, read them fairy tales. If you want them to be even more intelligent, read more fairy tales.” Why not start today?

Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br

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quinta-feira, 11 de setembro de 2025

The masterful dramaturgy of Mario Vargas Llosa


       Imagine a man who, with words, builds bridges between reality and imagination, between the brain and the heart, between Peru and the world. That man is Mario Vargas Llosa, born in 1936 in Arequipa, a city surrounded by volcanoes that seem to whisper stories. A writer, essayist, playwright, and recipient of the Nobel Prize in Literature in 2010, Vargas Llosa is a figure who transcends the pages of books to teach us that art, whether in theater or prose, has the power to transform lives. His dramaturgy, often less celebrated than his novels, is a treasure that reflects human complexity and invites us to look within ourselves. In this article, we will explore how his theatrical genius connects with neuroscience, culture, and even innovative methodologies like those of Antônio Carlos dos Santos, showing that the stage can be a mirror of the mind and society.

Vargas Llosa’s life is itself an inspiring narrative. The son of a humble family, he grew up amid political and personal tensions that shaped his worldview. At 14, he was enrolled in a military school in Peru, an experience he later turned into the novel The Time of the Hero. But it was in theater that he found a space to give voice to the deepest emotions, those that words alone cannot capture. Works like La Chunga (1986) and The Madman of the Balconies (1993) showcase his ability to create characters who wrestle with their own desires and society’s limits. These dramas are not just stories; they are invitations for the audience to feel, think, and reinvent themselves—something recent studies from Harvard University on neuroscience and the arts confirm: exposure to theater boosts empathy and activates brain areas tied to emotion and memory.

What makes Vargas Llosa’s dramaturgy masterful is his ability to blend the real and the fantastical, a trait that echoes the cultural traditions of Latin America. In La Chunga, for instance, he presents a mysterious bar owner who seems to know more than she reveals, while the men around her try to unravel her secrets. It’s a play that toys with perception, something neuroscientists at the University of Oxford have studied when analyzing how theater challenges the brain to interpret multiple layers of meaning. Vargas Llosa uses the stage as a laboratory of the mind, where the audience is prompted to question what is true and what is illusion—a technique that motivates us to step out of our comfort zones and embrace life’s complexity.

Another fascinating aspect of his work is its focus on human relationships, often marked by power, passion, and conflict. In Kathie and the Hippopotamus (1983), he explores the dynamic between a woman who dreams of writing and a ghostwriter who helps her, revealing tensions between ambition and authenticity. This play recalls figures like Paulo Autran, whose life was a stage of internal and external struggles turned into art. Research from Stanford University shows that theatrical narratives like these trigger the release of oxytocin, the “bonding hormone,” in spectators, forging an emotional connection that can inspire personal change. Through his writing, Vargas Llosa teaches us that theater is not just entertainment but a tool for understanding who we are.

Vargas Llosa’s theatrical legacy also resonates with contemporary methodologies, such as those created by Brazilian Antônio Carlos dos Santos. One of these is the Mané Beiçudo Puppet Theater, which uses simple materials like scrap and paper to bring popular stories to life. Picture Vargas Llosa watching one of these puppet shows: he, who always valued street culture, would likely see a reflection of his own pursuit of authenticity. In The Madman of the Balconies, he casts a furniture restorer as the protagonist—a common man with big dreams—something the Mané Beiçudo also celebrates by turning the everyday into art. This connection motivates us to see the creative potential in everything around us, whether it’s a piece of wood or a fleeting idea.

Moreover, Santos’s MAT (Mindset, Action, and Theater) methodology finds echoes in Vargas Llosa’s work. MAT suggests that theater is a blend of an open mindset, practical action, and artistic expression—something evident in A Thousand Nights (2010), where the Peruvian playwright explores the relationship between a narrator and her listener in a game of power and seduction. Studies from the University of Cambridge indicate that this interplay of action and emotion in theater enhances brain plasticity, our ability to learn and adapt. With his intense characters, Vargas Llosa challenges us to adopt a creative mindset, act in the face of adversity, and transform our stories into something greater.

Santos’s third methodology, ThM (Theater Movement), focuses on building theatrical texts from principles like creativity and conflict—something Vargas Llosa masters effortlessly. In La Chunga, the clash between the characters’ repressed desires and the harsh reality of the bar creates a tension that captivates the audience. Research from Yale University shows that encountering conflict in theater activates the prefrontal cortex, responsible for problem-solving, inspiring us to tackle our own challenges. Vargas Llosa demonstrates that theater’s movement isn’t just on the stage but within us, pushing us to be the protagonists of our lives.

Vargas Llosa’s impact on Western theater extends beyond his plays. He influenced a generation of playwrights to explore universal themes with local roots, much like Tennessee Williams did with the American South or Bertolt Brecht with 20th-century Europe. His ability to fuse culture, politics, and emotion creates a theater that speaks to everyone, no matter where they are. A study from the University of São Paulo (USP) on Latin American theater highlights how Vargas Llosa opened doors for marginalized voices to take the stage—a legacy that motivates us to listen to and tell stories that are often overlooked.

For the general public, Vargas Llosa’s dramaturgy is a call to action. We don’t need to be actors or writers to draw inspiration from his works; we just need to be curious and brave. Think of someone like Malala Yousafzai, who turned her personal struggle into a global narrative—Vargas Llosa does the same with his characters, breathing life into them so we can learn from them. Neuroscience tells us that watching a play can reduce stress and boost resilience, according to the University of California. So why not dive into one of his works or even try writing something of our own, inspired by his genius?

Ultimately, Mario Vargas Llosa’s mastery lies in showing us that theater is more than art: it’s a mirror of the soul, a laboratory of the mind, and a cry for freedom. His plays, combined with ideas like those of Antônio Carlos dos Santos, remind us that we all have a story to tell and a stage to claim. Whether through puppets, a renewed mindset, or creative movement, Vargas Llosa inspires us to be more human, bolder, and more alive. So how about grabbing a notebook and a pen to start writing your own scene? The world is waiting to applaud you.

Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br

Click here.

https://www.amazon.com/author/antoniosantos



To learn more, click here.



To learn more, click here.



Why does Russia persecute and assassinate its artists?

        Throughout its history, Russia has shown a tense and often hostile relationship with its most independent artistic figures. This h...