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This paper presents a study on the research conducted by Jacques Copeau with expressionless mask. In the late nineteenth and early twentieth centuries, the actor was subordinate to the dramaturgical text. From this, questions emerge about theater and servitude to the dramatic text. In this context of questioning and changing theater arises the figure of Jacques Copeau - which at first does not intend to revolutionize theatrical language, just want to have actors who, besides knowing how todoaj:52f75d5ec5d44e1b8da5c3881e71a795 fatcat:2lujh65ii5cqrpl2t2kpipav44