“…"In this sense, it was possible to be together with the inmates and, thus, produce their narratives, since they participated in the workshop entitled by me Playing with Theater, taking as procedures for this endeavor both traditional games (playing in round games, songs) and theatrical games (learning to play/act scenically with the other), since both (sic) enabled a learning focused on self-knowledge of oneself and of the other, which were essential to reflect as an urgency their humanization through the space in which they were, that is, the prison space" (Côrtes, 2014, p. 375). "The teaching of theater in Brazil, since its beginnings, as narrated by Santana (2010) and Pupo (2005), is based on the absolute importance of the full exercise of dramatic play, theatrical play, rules and symbolic games and improvisation as a means for the acquisition (seeing, doing, living, understanding, meaning) of elements of scenic language and scenic relation" (Ferreira;Machado, 2017, p. 62). "Aware of the situation, we ask ourselves how to do Theater -a practice that requires exposure without ties, freedom to play and put oneself in someone else's place -in spaces where control is the rule?…”