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AbstractA black man, a white woman: interracial and gender conflicts. These clashes have to do with breaks in dramatic traditions and modern instaurations in the Brazilian theatre of the 1940s. These themes are foregrounded by Black Angel to reveal in layers of the dramatic and scenic speech issues that refer to Western moral archaisms. The tragic and the satiric interweave and foreshadow the legacies of melodrama. Christian debtor consciousness and Greek immoderation face each other. In this context, the trajectories of the characters are traversed in the depths of memory that enslaves one to the other, both attached to charges and vendettas of past debts. At issue is the functioning of love relationship within marriage and the nuclear family. In an apparent accession to classical mimesis, the lack of action is supported by an atemporal repetition of the eternal present, elapsing in a house that is nowhere.