esquema compromete seriamente a formacao de futuras geracoes que precisamde excelencia tecnica e nao apenas na area de artes.Crisis in the teaching of the arts and thetecquines at the Brazilian universities? Reflexions on the History of the Schoolof Theatre of Bahia. The research follows the historyof the creation of the first administration of the School of Theatre of FederalUniversity of Bahia (1956-1961), the first theatre school in Brazil linked to ahigher education institution. This university was a pioneer in Latin Americabecause it reunited the teaching of four artistic areas: Theatre, Dance, VisualArts, and Music.In a good measure, the School ofTheatre was similar to indepent schools of art founded in the post-war world.In the United States there are many exemples in place until today; these institutionsoriginally followed orientations from schools of the European avant-guarde, countingon immigrant European teachers and artists. Teachers from fifteen countriestaught in the School of Bahia between 1956 and 1961. Because it belonged to anet of federal institutions, the search for autonomy of this Brazilian schoolsuffered great conflicts along its history.This Brazilian school had greatinfluence in the Brazilian culture, inspiring important cultural movements, suchas Tropicalism and Cinema Novo, and artists, such as the songwriter CaetanoVeloso, movie director Glauber Rocha and the pop singer Maria Bethania, amongothers.The first movies of the Cinema Novo were produced there, with studentsfrom this school, like "Barravento" and "Deus e o Diabo na Terrado Sol" (1964). The latter (Black God, White Devil) was inspired in theperformance of Die Dreigroschenoper, by Bertolt Brecht, directed by MartimGoncalves in Bahia in 1960. I researched the impact this School (and itsproduction and staging) had on the political and social life of the time. Thisfirst administration was severely persecuted. There are connections between thismovement and Military Coup, years later. Martim Goncalves, the founder andfirst director of the school, was a personality that exerted considerableinfluence on the construction of new networks and international interchangesfor the country, having been researched for the first time by this author, inher PhD dissertation, recepient of the 2013 Capes Dissertation Award.Hans-Joachim Koellreutter, Karl-Ernest Hudepohl, Hilde Sinnek, and Werner MeyerEppler are among the German artists and teachers that worked there. Lectures,films and spectacles of the German culture also integrated the repertory of theschool between 1956 and1961. Combining the teaching ofprofessional techniques an ample cultural training, the pedagogy of the Schoolof Theatre originally created a hybrid between a conservatory and an academictraining, drawing on Yale School of Drama. A good part of this pedagogy wasextinct in 1961, after the end of the first administration. Nowadays, as in most Brazilianschools of arts at universities, the professional teaching of techniques tendsto be more fragile. The practical training of teachers is not as valued as acareer pursuit through both graduate programs and constant publications, ademand that reflects the low prestige of practical training and professionalteaching in this country. The demand forteaching, research, and extension - pillars that are so valued by the Brazilian university when applied tothe action of individuals reveals anactions of difficult balance. Such scheme seriously compromises the formationof future generations that need excellent technique and not only in the