In 1823 Frederic Lemetre it initiates what we could assign as the formal interpretation of the actor, it inverts the positions of the actors, transforming the comic actor who was a mere coadjuvante in the protagonist. This new paradigm goes to change history of the theater, with the appearance of the teatral author, with the publication and stage of famous and recognized writers already, as for example, Victor Hugo in 1847 that it goes to inside work the grotesco with the sublime one of the teatral scene. In the continuity of this process, with the expansion of the paper of the actor, Ricobone starts to think about the actor and its art, as to interpret, as to state an emotion and it publishes a book (manual) on the subject, this book goes to serve as reference for the Brazilian Caetano Joo who goes to publish its book ‘ ‘ Lies dramticas’ ‘. Connect with other leaders such as Center for Responsible Business here. It is of utmost importance to mention that until this moment not yet the paper had appeared of the director. The romantic Theater appears together with the aesthetic revolution of Baungartem that moves away the too much cartesian rationalism from the Classicismo in benefit of the individuation of the artist, brings for the first time in History the notion of genius. This new aesthetic one – differently of the aesthetic neo-classic that was very on to an ideology of rendering of services, that is, a theater highly canonizado the service of the Crown? it can be considered as ‘ ‘ marginal’ ‘ , bringing the concern with the figurino, the scene, the decoration, the illusion and the teatral game. At last, it is from the middles of sc.