This paper purposes the comprehension and reflection on which manner occurs the corporal training of the scenic chorus of parades of the G.R.E.S. Beija-Flor de Nilópolis, through the carnival plots which compose its “amazonic triad”, such as: i “Pará – O Mundo Místico dos Caruanas nas Águas do Patu-Anu” (1998); ii “Manôa – Manaus – Amazônia - Terra santa... Que alimenta o corpo, equilibra a alma e transmite a paz” (2004) as well as; iii “Macapaba: Equinócio Solar, Viagens ao Meio do Mundo” (2008). Considering the existence of a recreated, modernized and stylized mythology in those parades, I analyze the creation process engaged, also through the scenic arts, in order to institute “spetacularization” in popular culture. Therefore, I feature the valorization and conversion process of amazonic culture in the parades of a G.R.E.S., precisely in Beija-Flor de Nilópolis. Assuming the Amazon as core, I analyze the definitions of myth and cosmogony, reflecting on amazonic culture, which has its legends, myths and imaginary transferred from its current reality and nature, and also converted through the process of corporal training into the work of the performers, who compose the parades. From this process, results the charming phenomenon of Carnival in Rio de Janeiro. Finally, this paper also tackles on the issue of theatricalization of Carnival as a basis to the establishment of the staging in the parades, as well as a process of conception of a “carnival show”.
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