The Brazilian Radical Theatre, TRB, stands for a theatrical poetics, a set of concepts and procedures which serve as references for the performer’s craft. The term radical has nothing to do with extremism nor does it stem from artistic self-sufficiency but rather derives from a deep delve into the phenomenon of theatricality. Its initial motivations have been developed since 1988 by the actor, playwright, director and professor Ricardo Guilherme. This book is the result of a completely revised and translated text published in 2014 in Brazil. It investigates the peculiar work of the performer through two plays created according to the TRB's working method: The Divine Comedy of Dante and Moacir and Bravíssimo . The technique of the radical performer is at the heart of the publication and is discussed with reference to the studies of Hans-Thies Lehmann on the Brechtian fable, Hans-Ulrich Gumbrecht on the production of presence and Nicolas Bourriaud on altermodernism.