Miss Margarida hasn’t only elements of the Bald singer, and or, of Waiting for Godot, but it functions as an atonement of the slave of an authoritarian system, which oppresses human intelligence.
For those who know Brazil’s history, it can certainly be interpreted in a more local manner, but in any case it holds within, global and intertemporal data.
Therefore the theatrical play, doesn’t only touch upon us through its historicity, afterall that is influenced by it’s translation into Greek, but mostly by the humane universality through using cognitive schemes of paedea which comes to overturn education as such.
Every authoritarian system pays attention to the education of children, because it wants to manipulate them from the very beginning, and it takes advantage of the role of the teacher in order to pass through its messages of propaganda.
The author with his theatrical scenario, conclusively exposes Miss Margarida, in an atempt to touch us with the scalpel of his soul.
But he doesn’t merely expose the frustrations of a degenerated educational system, as he goes on to simultaneously show the limits of humanity.
The solitude of the monologue, which under the guise of the classroom, is converted into an asymmetric dialogue, concerns us because of our apathy while faced with the sufferings of Miss Margarida, as well as our inaction when we’re confronted with her dictatorial obsessions.
In this manner we are observing a downtrodden person, a victim of the system, who reproduces whatever she lived through, and becomes transformed into a perpetrator who is bothersome, who is harassing and is in actual fact torturing a sixth grade.
If we were to add to it the performance of Miss Margarida, then we finally end up with a subversive performance which makes us more humane towards our fellow human beings, because we see how easily they can fall into the trap of a void society.
Consequently, the prompting for the observation of this performance is a mere necessity for this illuminated theatrical scenario.