Amongst the dramatical sorts we will detach the Tragedy and the Comedy, being that to that one it imitates the superior (the beauty) and this the inferior (the ugly one). These possess practically the same elements, with a small difference of that in the Comedy catastrophe does not exist, being that in the Tragedy it exists. The tragedy results in one catarse of hearing, and this would explain the reason of the human beings to appreciate to attend the suffering of the dramatizado man. The action aims at to in general provoke in the expectador mercy and fear, finishing of fatal form, as objective to provoke catarse. However, nor all the parts that are wide recognized as tragedies result in this type of final cathartics some have neutral or exactly dubiamente happy final ends. The Comedy is critical of the customs and the vices through the laugh.

As Aristotle (2005) defines: ' ' The Comedy is the imitation of bad behavior, not however, of all part of vices, but only of that part of the ignominioso that is ridculo.' ' By means of the exploration of ridicule and the weaknesses human beings whom if she looks to lead to a reflection on what a reform is transferred in the society provoking in this way them customs. Currently she predominates the satire, the favour and the theater of the nonsense. Inside of the Comedy the Opereta exists, that is a type of musicado theater, has led, scoffing, criticizing the society, and Comedy, also call of Burlesque, when it presents said parts and sung others. Exemplificando the tragedy we have the workmanship Greek of Eurpedes, ' ' Media' ' , that it presents the psychological picture of a loaded woman of love and hatred. As repudiated and foreign wife pursued, it if it rebels against the world encircles that it.

Thus, in the end of century XVIII, Burke (1997) discloses in them to be does not exaggerate to speak of one ' ' crisis of the conscience histrica' '. At this time, some famous authors tried to pass to its readers the impression of that its workmanships were historical sources, including baseboard notes and affirming to be counting the truth and not writing a romance. Although this, the border between the sorts started if to close in the half of this century, being had a divorce between history and fiction. Another crucial period for the relation between these two areas was century XIX, the age of the classic romance, in which authors as Scott, Manzoni, Hugo, Of ones, Jkae, Tolstoi and Perez Galds had tried among others to reconstruct the cultural spirit of a time and its conventions. In this period the border between history and fiction was relatively clear. Historical romances and histories narratives were opposing complementary, with a clear division of work between the authors.

Although all the occurrence, was only at our proper time that the border between history and fiction if reopened. Hayden White (apud BURKE, 1997) made over again the quarrel humanist of the rhetoric of history, and the indignation that its workmanship provokes in some stoppings suggests that it broke a taboo and that the border between history and fiction is sacred. Today, if it could say that the historians contemporaries demonstrate more respect for the imagination of the one in the times, not very distant, where they simply affirmed to discover the facts. Moreover, groups of historians if dedicate to the studies of history, what they call ' ' representaes' '. Burke (1997) says in them that if history and fiction seem blurred sorts today, would have, then, to not only look to explanations for this borramento in terms of a vacant spirit after-modern of our time, but also in terms of the internal concerns of the two communities: ficcionistas and historians.