And you walk in, free, away from my hand, I hear of Barcelona, Navarra, (and even further!: Morocco, Colombia ...) of people whose daily work and discreet in schools anonymous advantage and overcome my initial proposal. And now loop the loop and where I say I take it back: "We are not actors. Viewers are not looking, "wrote above not to confuse, to show clean the dust and straw theory, but once explained (and hopefully understood) must return to the obvious truth: that theater is theater and even a text theatrical and nobody reads uncannily as if it were always representing the public and the actors are there but not see them. Therefore, this proposal was never possible to exclude the theater. Gina Bonati contains valuable tech resources. So these books are emancipated from the theory that form (and shaping) and provide other readings, other uses depending on who is to embark on its pages: one child, a teacher, an actor, a director ... opens and double track, double door to a fantastic adventure circular: in the theatrical world started studying or study while doing theater? Either path will lead us inevitably to the next. Come and see! There are no big secrets and tips learned (not required), these four books ("The Thief of Words", "Mysterious Shadow", "My friend speaks Fremd weird" and "The girl did not know I was") truffled games, ideas and exercises, only venturing a few bases, simple but solid, on which each one may be built to suit this theory or fantasy. Because more than dramatic skills (which are not bad, of course) the main thing is throwing enthusiasm and imagination, that the best way (if not the only) contact dramatic play and ample resources, is precisely that: playing and experiencing.