In line with the project, referred to in Portugal as neo-realism, of contributing to the education of the people and raising awareness of their decisive role in transforming the world, Redolian drama nevertheless reveals, somewhat surprisingly, a playwright committed to formal experimentation. In fact, his writing benefits from the theoretical references constantly sought in universal theatre, as well as his own experience of participating in performances. In general, it’s a theatre that doesn’t want to be confined to photographic realism, but also assumes itself as a mirror for seeing from the inside. In the writer’s theatre estate, which this research has accessed for the first time in its entirety, it was possible to record the ten and a half titles of plays (including complete texts, incomplete texts and sketches) that, along with the four published plays, this work mobilises. In addition to his writing, the study of Alves Redol’s connection to the theatre extends to other fields of his activity, the knowledge of which allows us to understand this multi-faceted personality, strongly determined, but also conditioned, by the historical context in which he lived and created. The treatment of the subject required the research, on the one hand, a revisiting of the socio-cultural and artistic panorama during the Salazar regime (adding particularly useful data to the knowledge of the activity developed above all in counter-current) and, on the other hand, a re-examination of the Portuguese neo-realist problematic, as far as theatre specifically is concerned.