Abstract

As soon as the Portuguese Revolution broke out on April 25, 1974, Augusto Boal’s reflections on theatre and society began to be read with great interest there. ¹ Less than two months after the military captains of the Armed Forces Movement (MFA, in Portuguese) entered Lisbon and put an end to 48 years of fascist dictatorship in the country, Boal’s text Categorias de teatro popular ² was published in the Revista Cinéfilo magazine in Lisbon. That same year, theatre critic Carlos Porto began a long exchange of letters with the Brazilian director (then exiled in Argentina) inviting him to collaborate with Portuguese theatre amid the revolutionary process.