Incendiary Puppets

This article discusses the trajectory of the group Pigmalião Escultura que Mexe, reflecting on their theatrical practice and recognizing ways in which animated forms have become visibility tools, opening spaces for political reflection in their performances. The text focuses on identifying the group’s main characteristics and recalling aspects of its history, seeking perpendicular points between the motivations of their social context and the content of the works adapted to the stage. The article incorporates elements of participatory research, using observation and documentary analysis as instruments, along with bibliographic consultation, to outline a reflection on their 18 years of collective work grounded in an active dialogue between art, philosophy, and politics.