2026-09-282026-09-282026-07-13RAYOL, Breno Pinto. Dramaturgias de quintais: oralidade, memória e criação sensível. Orientadora: Ivone Maria Xavier de Amorim Almeida. 2026. 47 f. Trabalho de Curso (Licenciatura em Teatro) – Escola de Teatro e Dança, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2026. Disponível em: https://bdm.ufpa.br/handle/prefix/10265. Acesso em:.https://bdm.ufpa.br/handle/prefix/10265This research originated from my experience as a volunteer research fellow in the extension project Healing Hands (Mãos que Curam), coordinated by Professor Dr. Ivone Maria Xavier de Amorim Almeida, whose research-creation activities in Amazonian homegardens enabled my direct engagement with ancestral knowledge, practices of care, oral traditions, and shared memories within traditional communities. Based on this experience, I investigated how homegardens can become dramaturgical matrices capable of fostering creative processes committed to valuing the knowledge of the land, ancestry, and everyday experiences. My objective was to propose an understanding of dramaturgy as a sensitive creative practice emerging from the encounter between body, territory, memory, and orality, expanding its meaning beyond conventional dramatic writing. I developed this study through a qualitative, exploratory, autoethnographic, and cartographic approach, grounded in the rhizomatic perspective of Gilles Deleuze and Félix Guattari (1995), in dialogue with the contributions of Leda Maria Martins (2021), Ailton Krenak (2019), Nêgo Bispo (2023), Eugenio Barba (2012), and Joseph Danan (2010). The methodological procedures included sensitive cartography, the recovery of autobiographical memories, participant observation, listening and sharing encounters in Amazonian homegardens, and artistic-dramaturgical experimentation derived from these experiences. As a result, I propose the concept of Homegarden Dramaturgy, understood as an aesthetic, ethical, and political device of counter-colonial creation that transforms oral traditions, memories, everyday gestures, and ancestral knowledge into dramaturgical material, affirming homegardens as living territories of artistic production, cultural resistance, and the invention of other ways of inhabiting and experiencing the world.Acesso AbertoDramaturgiaOralidadeMemóriaAncestralidadeDramaturgyOralityMemoryAncestryCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATROTrabalho de Curso - Graduação - MonografiaAttribution 3.0 Brazil