The theatre of the anomalies or the contaminated stage

The contaminated stage is a consequence of a devastated field, where life arises precisely from left overs, remainders, and ruins. Here, the word "contamination" does not mean a practice of tolerance or compassion with those excluded from and or marginalized of a society, but has an implicit and corrosive sense of intruder practice, strange to the conventional venues, which influence the work of some theater groups and stage directors. It seems that the scene that absorbs the difference and the "different" is impregnated by the characteristics of these actors, leading the spectator to a new perception. Thus, we seek this point of view of the scene, guided by the understanding of historical and aesthetic processes that compose the relation and social perception of body disturbances and human minds. The study identifies the moment of closing between theatrical activity and disturbances of physical and mental order, concluding that the scenic appropriation of the anomalies has its origins in the fair's exhibitions of the century, developing into the entre-sorts and freak shows of the 19th century, to 18th establish itself effectively with the advent of artistic movements such as the body art and the performance art, in the 20th century.