2020-03-032020-03-032012-03CAMARGO, Robson Corrêa de. O teatro de feira e sua poética. REBENTO: revista das artes do espetáculo, Barra Funda, n. 3, p. 62-81, mar. 2012.e- 2178-1206http://repositorio.bc.ufg.br/handle/ri/18791This paper presents refl ections on the various forms of theatrical events held in the French fairs between the seventeenth and eighteenth centuries, and indicates the proper impact of these theatrical forms at the French fairs in the defi nition of what must be called theater, drama or performance. It also, presents some examples of the acting procedures and construction of its performance, which uses deliberately and without any ceremony all existing styles and reworked them into a new permanent key. A theater that is not imposed by stylistic boundaries or allegiances, instead, sought to break them, renew them, occupy them, and maybe subtract them. With the strong gesture-representational momentum of this kind of spectacle, the theater at the fairs was composed by such heterogeneity, that we must call it a heterogender, a gender that is made by using always the difference, profi led without using predetermined or fi xed characteristics. In its constant prismatic method, determined by using at random a constant dialogue with distinct forms of contemporary spectacle, it shows other dramatic forms of compositional unity, asserting itself as a central phenomenon in determination of what should be understood as drama.porAcesso AbertoGestual no teatroTeatro das feirasFrançaTeatro séculos XVII e XVIIIGestus on dramaDrama at fairsFranceDrama at XVII and XVIII centuryArtigo