Resumo:
Studies on gender stereotypes within the structure of society have been a topic of social
movements and academic research since the 19th century, where various doors have been
opened through questions about being a man and woman in society, privileges, and lack of
opportunities, structures of power and submission. It is interesting to observe that, through
the analysis of theater history, it is also possible to see how performing arts have been,
since antiquity, a space for modeling behaviors and actions that favor the masculine as a
parameter of power, dominance, and artistic talent, where men embody the main characters.
The few women who wished to take to the stage were seen as worthless, vulgar, and
marginalized by traditional society. However, even in the 19th century, we find female figures
who transgressed the oppressive rules of society and showcased their talents in theater. In
the second half of the 20th century, inspired by feminist movements for gender equity and/or
new critical epistemologies on the representation of social roles, with a strong critique of
gender disparities in everyday relationships, feminist and black theater groups emerged. And
in the following century, the 21st, the Theater of the Oppressed Women was born. Thus, this
dissertation analyzes how the Theater of the Oppressed Women, which emerged in 2009 in
the city of Rio de Janeiro, incorporates the proposals of Feminist Theater into its practices,
based on bibliographical research. In this way, the study not only describes how women
have participated in Brazilian theater up to the experience of the Theater of the Oppressed
Women, but also compares the differences and similarities of this type of theater with the
proposals of Feminist Theater. The analysis highlights the influence of race and class
markers as intersectional categories to emphasize the importance of theatrical productions.
