Luis of the Cascudo Chamber, the folclorista greater of Brazil, born in the Rio Grande of the North, registers that: the myths are of general character. Lobisomem, Mules, Boitats, Curupira I buzzed, It appears in the ways, it asks for tobacco and it torments who does not satisfy it the will, giving assovios fine and long to desnortear the people. (SNOWS, 2000: p. 02). According to Hermilo Borba: ‘ ‘ She is necessary to make infantile theater with wonderful legends of the Caipora, Lobisomem, of the Saci-Perer, Iemanj, to make a characteristically Brazilian theater, giving its popular character, its true carter’ to it; ‘. (CIRANO, 1981: p.75).

Chamber Cascuda and Hermilo Borba if worried about our folklore, with our theater and with our source of imagination, that, by the way, never was poor, we have a rich source of imagination to our reach well. Counted histories for our grandfathers, for our neighbors of third age, that in count facts to them lived for our ancestral ones, or myths and legends to enchant or to scare the children, moving with all the imagination of the meninada one. The Theater rescues the enchantment, the magic and the fancy. The example, ours so famous Ox Bumb, right-hander of the folclrica research for the teatral scene, worked of primorosa and charming form, bringing to the reach of our public (in the streets, squares and schools) the spectacle. Let us see the first spectacle: ‘ ‘ Catirina the pidideira woman and the ox Bumb’ ‘ that it serves to demonstrate a little of this universe. Adapted and directed for Josimar Alves*3, recriando personages and situations of our Brazilian myth, spectacle takes in them to the imaginary and magical world of Catirina. The spectacle counts the history of an pregnant woman (Catirina) that it desires to eat the language of premiadssimo ox of the farm where works its husband (Mateus), that exactly dying of fear of the master, it cuts the language of the ox and takes pra that Catirina can saciar the desire and does not abort the child.