(ESSLIN, 1966, pg.349) What one perceives in the reading of this introductory definition to the Theater of the Nonsense is that dramaturgo Fernando Person, in the writing of its sailor, launches hand of these illogical principles and sensorial characteristic of the said texts nonsenses without, at any moment, if aperceba? the least in explicit way? that teatral, the principle would be corroborating a new possibility when making, dspar of what until then was carried through in the Europe to finissecular. European Portugal and some countries produced, in bigger scale, the call simbolista naturalistic realistic theater//; whereas, in initial way; in efervescia Paris already the theater of Poetical Vanguard, that in some aspects if resembles the proposal coming of the Nonsense when it considers an illogical and onrico universe in the development of the text with decadentistas interferences, even so with one high degree of irony and a well distinct mood. The dramaturgos were distinguished in this theater of Poetical Vanguard Michael de Ghelderode, Jacques Audiberti, Georges Neveux, among others. Whereas the representation most legitimate of the Theater of the Nonsense is found in the Irishan Samuel Beckett (Waiting Godot), in the Rumanian Eugne Ionesco (the Bald Singer), in the Russian Arthur Adamov (All against all) and the Frenchman Jean Genet (the Balcony). However, if they are aesthetic next teatrais in characteristics, as not to assume, then, that the theater of Fernando Person anticipates the Poetical Vanguard and not it Nonsense; a time that the poetry it is infinitely more peculiar? The reply it is not in the similitudes, but, in the differences. The Poetical Vanguard goes to dedicate itself, essentially, to a protestant lyricism that garganteia the lack of logic of a world that premessenger a dull war and the displacements of the modern citizen, launching hand of the irony, of a sarcastic mood, filiando itself, thus, to dadasmo, the surrealismo and other ismos of one agitated beginning of century XX..