Theatrical Confrontation: Social Confrontation
This paper intends, by establishing connexion between the tragic form and the destiny of the African descendant in Brazil, to show that this is not the so-called country of racial democracy. For this, the relations between society and the Brazilian theater will be observed, presenting aspects of the foundation and the importance of the genre. The discussion will be illustrated with the capital speech of the central character of Antonio Callado’s play A Revolta da Cachaça (1982). He is Ambrósio, black actor to whom they only support supporting roles. Ill, he goes to meet Vito, friend and playwright, to seek the play promised for years and which would be the protagonist. The play is still unfinished and Ambrósio decides that he will not leave until the work is completed. With the negative of Vito, the confrontation is established.
