My research offers a possible perspective over the poetic paths of three story-teller actresses in
Belém who I have in consideration and affection, Adriana Cruz, Ester Sá e Marluce Araújo,
and who guide my own artistic practices as an story-teller actress myself. The autoethnographic
method cited by Versiane, Cano e Opazo is used in the whole research, which allows me to
seek the dialogue among subjectivities, by giving emphasis on each artist’s sigularities, and at
the same time by identifying common features among our poetic practices. As for theoretical
support, I take into account the works of João de Jesus Paes Loureiro regarding amazonian
artists immersed in the universe of “encantarias”; of Cecilia Salles on aspects of the creative
process; of Paul Zumthor assisting my compreehension of performance and poetics of the voice;
as well as the works of Clarissa Pinkola Estés where the feminine universe and the psyche of
the stories we tell concern. The study was organized after data collection, that is, the actresses’
statements given in collective and individual meetings, as well as observation and analyses of
their story-telling presentations in cultural spots in Belém during the year of 2019. The entire
structure of the dissertation is symbolically related to the construction of the image of a yo-yo
quilt on which matryoshka dolls take form and may be seen, they themselves, as a symbol of
eternity, motherhood, love and friendship — moving elements of this work.
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