This chapter addresses examples of lecture-performances in Brazil from the last decade in order to discuss a certain “return of the discourse” (Athanassopoulos, J Aesthet Cults 5:1–10, 2013) in contemporary art. A subgenre of performance existing since the 1960s, the lecture-performance advocates discourse as something practical other than only theoretical. But why are we, performing artists, bringing text back into our performances, if the arts have been precisely a way for us to express ourselves without words—or at least, to express ourselves less rationally? Why are lectures suddenly fascinating again? The conjectural answers to this question are related, first, to the institutionalization of the arts and their theoretical saturation in university environments and, on a more sensitive level, to the identitary reaffirmation of historically marginalized and oppressed groups in Brazilian society.