Great Bucci

But the animation theater was stronger pra me and I continued noSESC and people had access to some festivals in Brasilia, and there I knew umgrupo of Flagstone that was a group that worked with dolls and masks and gained jhavia prizes in So Paulo, and us was pra Flagstone to present nossotrabalho and each time this universe of dolls was each stronger time dentrode me. With the time, I also drew, participated of the Escolinha of drawing doBosque and always trying this linking of the visual element with the attempt to deanimar it, in the SESC the majority of the dolls was for my account to praconfeccionar them, and there then I went searching and learned the technique dapapietagem, I worked with modeling in clay, as actor and manipulador' '. (BERNARDI JNIOR, 2009) 2,3 EXPERIENCES WITH the PROFESSIONAL THEATER the contact with the theater profissionalexpandiu horizontes of Dino, making with that it to the few fossedescobrindo inside of the theater some elements fascinated that it, also oteatro of dolls. ' ' After this I was to work with the Great Bucci and with Jose Mauricio in suCia Agnus Art and also it worked in the group of theater of the UNAERP. The Great Bucci a person to who I must very in my career, a great one I influence, where it brought a theater where the teatralidade was very requested, estilodele was very on the conventions of the teatral game, it very used osrecursos of the masks and dolls, and when we start to work together eucomecei to take elements that the work of the Agnus developed Art. Together as Onsimo de Carvalho, that today is architect, people were with the efigurino cenografia, and this was a great school pra me, where I learned very with oMagno that the pedagogia and to the theater is very on, already I had made doutorado nUSP on theater-education, then we reflected above all this very. Nesseperodo I went the So Paulo very to attend doll theater, and also buscavacontato with others directors of theater and theater of bonecos' '. (BERNARDIJUNIOR, 2009) the discovery process sobreteatro grew each time more, and already in its adult age it had much contact with ateatralidade and the simbolizao in the theater, what of certain form he was imperantedentro of the creation of the Cia Cornucpia.' ' Already for return of the twenty years, I can say that my allure also peloteatro of actor was equal to the one of theater of dolls, but he attracts what me muitoeram the spectacles where the teatralidade was reigning, that is, what I to querofalar on teatralidade, am what until today it is the mark of the spectacle of the CiCornucpia. I can also say, that this teatralidade comes very of the meufascnio for the eastern theater, where the actor