Beth Bado — Puppetry Artist, Storyteller & Community Cultural Maker
A journey shaped by creation, listening and social transformation.
Beth Bado is a Brazilian puppetry artist, creator of “Carlão,” and an active voice in popular culture, artistic training, and community-based creative practices in Rio Grande do Sul.
Her work brings together puppetry, education and collaborative artistic practice.
Beth Bado in puppetry: art, soul and territory
Beth’s artistic journey began in childhood with classical ballet and jazz classes. As a young adult, she became interested in cultural production, communication and the role of art in people’s lives and territories.
When she discovered puppetry, she found a language that brings together poetry, social critique, empathy and humor. Glove puppets and object animation became her strongest artistic voice.
Since 2004, she has been fully dedicated to puppetry, creating performances that combine sensitive listening, emotion and critical reflection for people of different ages. Her work explores themes such as memory, belonging, Black identities, ableism, environment and everyday affections.
The puppet Carlão and popular puppetry
Throughout her career, Beth created Carlão, the group’s master of ceremonies — a character who moves between real and imaginary borders. With his “portunhol” accent, humor and attentive listening, Carlão talks with audiences of all ages about culture, identity and everyday life.
The character has performed at puppet festivals in Brazil, Argentina and France, including the prestigious Festival of Charleville-Mézières.
Through Carlão, Beth weaves social issues with both lightness and depth, inviting reflection, empathy and active participation. Carlão is also a bridge to the digital world through the Boneco Carlão Oficial YouTube channel and social media content that bring popular puppetry into people’s online lives.
A journey shaped by sensitivity and presence
Beth Bado also works in cultural networks and policy. She is currently Vice-President of ABTB – the Brazilian Puppetry Association (UNIMA Brazil Centre) and a board member of UNIMA – Union Internationale de la Marionnette, an organization affiliated with UNESCO.
In these roles, she helps design training programmes, heritage and memory projects, and supports initiatives for puppet masters and emerging companies across Brazil and Latin America.
Beth is also a member of the UNIMA International Election Committee, contributing to democratic and representative processes in the puppetry field. Her work strengthens international cooperation and increases the visibility of Latin American artists in the global puppetry scene.
Education, inclusion and sustainability in puppetry
Beth Bado also works as an educator and cultural facilitator. Together with Nelson Haas, she develops workshops and projects that use puppets as tools for artistic expression and citizenship.
Their actions reach public schools, social projects, cultural venues and community groups, always with a strong focus on accessibility and dialogue with participants.
The group Bonecos da Montanha, co-founded by Beth, is committed to reusing materials whenever possible, reducing the environmental impact of their productions. The group’s visual aesthetics are deeply connected to this choice, combining popular imagery with ecological responsibility.
Art with purpose
Beth Bado’s trajectory is marked by deep listening, presence and a strong commitment to popular culture. In each performance, workshop or conversation circle, art becomes a space where people, territories and memories can meet.
Her work in Brazilian puppetry brings together technique, politics and poetry, while keeping the sense of wonder that makes audiences laugh, feel and reflect on the world they live in.
Detailed Trajectory
Since 2004, she has been fully dedicated to puppetry, creating performances that combine attentive listening, emotion and critical reflection for people of different ages. Her work explores themes such as memory, belonging, Black identities, ableism, environment and everyday affections.
Together with her life and stage partner, puppeteer Nelson Haas, she founded Atelier dos Bonequeiros in Gramado (southern Brazil) and co-founded Bonecos da Montanha, a group recognized for popular puppetry, sustainability and audience development.
Stage Productions
2021 / Natal do Carlão
2019 / AmericanaMente
2018 / Histórias do Carlão
2018 / Frida e Nossos Kahlos – Programa de Artes
2018 / O Coelho de Canela
2017 / Pluft, O Fantasminha – Programa de Artes
2016 / Caixas de Lambe-Lambe – Programa de Artes
2015 / Shreck – Programa de Artes
2014 / Rio 2 – Programa de Artes
2014 / Encontro Mágico
2012 / Encontro
2012 / Tcharã! Não são lindos, mas são gatos!
2011 / PAZcoa nos 5 Continentes
2010 / 4 Estações em Canela
2009 / Sonho de Uma Noite de Verão
2008 / O Proprietário
2007 / O Melhor do Só Rindo
2006 / Sempre é Natal
2005 / PersonaGens
2005 / Engano
Specialized Training & Workshops
2017:
Animação para teatro de sombras – Julietta Tabusch, Argentina
Animação de Bonecos de Luva Chinesa – Grupo Wuan Chang
2015:
Animação de Marote para TV – Paulo Balardin, Caixa do Elefante.
2010:
Técnica Vocal – Luiz Alves.
Expressão Corporal – Gutto Basso.
2009:
Curso prático de assistente de direção com Júlio Saraiva.
Palestra sobre dramaturgia. Júlio Saraiva.
2008:
Construção da Personagem. Lindon Satoru Shimizu.
Dramaturgia para Teatro de Bonecos com Sergio Mercúrio, Argentina
2007:
Animação de bonecos na técnica chinesa de luva, com Jean-Luc Penso, França.
2006:
Animacion com títeres en sujeción directa. Cia arte de Cuba.
Animación de objetos. José Navarro – Inglaterra.
Construccion de títeres. Leomar teatro de Titeres – Argentina.
Seminario Titeres e Técnicas – Bolivia.
Primeira Semana de Estudos sobre Teatro de Animação. Ponto de Cultura Anima Bonecos. Rios do Sul/SC.
Palestra “O Diretor-Dramaturgo e o bonequeiro-Criador: Dramaturgia no Teatro de Animação”. Luiz André Cherubini. Rio do Sul/SC
Palestra “O trabalho do Ator-titiriteiro”. Valmor Beltrami (UDESC). Rio do Sul/SC.
Oficina “Fundamentos do Teatro de Animação”. Sobrevento, SP.
Workshop sobre história do teatro e técnicas de construção da Personagem pelo Ator José de Abreu
Encontro Nacional da TEIA – A Rede de Cultura do Brasil. Pavilhão da Bienal, São Paulo.
Participação no lançamento da Cartilha da Cultura Negra MinC, Museu do IPHAN.
2005:
Oficina de Sombras com o Grupo Lumbra, RS.
Manipulação de luva com Grupo Só Rindo, RS.
Festivals & Performances
2025 / Festival Espetacular e Animarua/FRINGE – Curitiba/PR
2025 / Encontro de Mamulengo de SP – São Paulo
2025 / Tatá-Piriri – Eldorado/Argentina
2024 / Casa de Felipe de Riachuelo – RN
2022 / Festival Kanelo Mágico – Chile
2021 / Acción Cultural para el Dia de los Niños – Ecuador (virtual)
2021 / 10º La Palabra en Escena – Argentina (virtual)
2020 / 4º Encontro de Redes IberCultura Viva – On-line para os países Ibero Americanos
2019 / Festival Internacional Kruvikas – Posadas/Argentina
2018 / Festival Internacional Tatá Verá – Iguazú/Argentina
2018 / 30ª Semana do Teatro de Bonecos de Porto Alegre/RS
2017 / El Yorugua – Montevideu/Uruguai
2015 / Festival Mundial de Teatro de Bonecos – Charleville-Mézières/França
2015 / Kruvikas – Posadas/Argentina
2012 / Mostra de Teatro Mulher em Cena – Caxias do Sul/RS
2011 / 10ª Mostra TeNPo – Porangatu/TO
2011 / Festival Chaco “Um Sueño con Títeres!” – Argentina
2011 / Mostra Sustentável de Teatro de Bonecos – Porto Alegre/RS
2010 / TEIA Nacional – Fortaleza/CE
2010 / Mostra Sustentável de Teatro de Bonecos – Porto Alegre/RS
2008 / FITA – Festival Internacional de Teatro de Angra – Angra dos Reis/RJ
2008 / FITA Floripa – Festival Internacional do Teatro de Animação – Florianópolis/SC
2007 / Ânima Uberlândia – Uberlândia/MG
2007 / Titiritay 2007 – Cochabamba/Bolívia
2006 / Bienal Internacional de Teatro de Títeres para Adultos – Lima/Peru
2005 / Festival de Teatro de Bonecos – Rio do Sul/SC
2005 / IV Semana do Teatro de Bonecos – Caxias do Sul/RS
Participações no Festival Bonecos Canela/RS: 2021, 2019, 2017, 2016, 2014, 2013, 2011, 2010, 2009, 2008, 2007, 2006
“Each puppet carries a voice.”
— Beth Bado