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In this article I reflect on how the spectacle of the trained body combined with the realm of heroic characters and dialogues inspired by notions such as "non-action" builds up our imaginary about the East, the sacred and the martial arts. It is reasonable to consider that before we encountered the most well-known writings on Asian theatre by Antonin Artaud, Jerzy Grotowski, Peter Brook and Eugenio Barba, our Latin American gaze on the East was shaped by the performances of actors indoi:10.5965/1414573102252015084 fatcat:6es2cdd4bff6pjwspy3heod634