ABSTRACT
The most remarkable production of Ibsen in Brazil took place in São Paulo in 1971. The director Antunes Filho placed Peer Gynt against the binary historical backdrop of military censorship and worldwide emancipation. In this context, Peer Gynt became a selfi sh and hedonistic embodiment and mirror of an alienated class of Brazilian citizens. The performance, its intense rehearsal process and the coaching work of Stanislavsky’s former pupil Eugenio Kusnet marked the beginning of a new aesthetic era in Brazilian theater.
