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The discussion about the specificity of the theater documentary heritage has been treated from the articulation of the concept of ephemerality as a central point about its preservation. The idea arises from the adoption of the theater performance in distinction of theater as an aesthetic expression. This paper aims to examine such acceptation, since it is believed that the criteria that singles theater out as art does not reduce it as a study field, specially if analyzed within a historical and social context. Thereby it is possible to identify practices within theatre that last in time. The piece has its origin from the author collaboration in a project to organize the Centro de Documentacao e Informacao da Fundacao Nacional das Artes (Cedoc/Funarte) personal archives collection. It is also based on what is possible to identify as recurring in the constitution of archives sets of this nature to treat the documents and records of theatrical performance beyond its conception as merely theater play vestiges.

O que existe de permanente no reino do efêmero – os arquivos pessoais e o patrimônio documental do teatro