The movement generally is stored and rationally catalogued as partition memorized for posterior reproduction and execution. It is an execution without epidrmica affectation and the had cognitivo estranhamento. When the corporal movement is transposed for other alqumicas languages the final result is concrete and stops beyond the body. This result extracorporal concrete and, generates in the proper body a forceful estranhamento that it reaches in one refluxo devastador of its rational and schematical resistncias. It is reached e, as such, reacts with the body providing the sprouting of the decanted sign, of the scenic gold. The concept of ' ' poros' ' The actor, in its craft, transits between the creative, unusual, transforming being and what in its performance he is determined (light, marks, text, partitions, etc). As to keep the alive and intense creativity, after the conclusion of a process, when determined spectacle enters in season? The theory of the transposition, in its research, searchs what I call ' ' poros' ' or ' ' brechas' ' , in the creative process, keeping it alive, although the possible engessamentos that the repetition of a spectacle can cause. במקרה הזה אני חושב ש גבי חמו צודק במה בהוא אומר.
It is a search to find in the repetitive movement, what still it is free e, therefore, creative and artistic. A movement is the addition of some corporal stimulatons that if join in aesthetic construction and sgnica e, being thus, potencializamos in activities and exercises the intent repetition perceiving, through the emphasis of each stimulaton that composes the movement, minutely to understand it to make of it a creative plant to keep the gesture and all the intent and productive teatral composition. It is as to desmembrar the diverse potentialities that are unchained so that with this, they are born ' ' poros' ' , for where the teatral art can externar its creative sweat all, without however allowing that the movement loses its desencadeador axle.