This dissertation is concerned with the state of attunement for acting, articulated from elements of Lessac’s Kinesensic Training as an alternative to the idea of controlling scenic behavior when seeking to improve artistic quality. It proposes a more organic connection of actors with themselves and with the conditions of the action performed in the present moment, regardless of stylistic characteristics. This research was motivated by the following questions: how to stimulate the in-depth perspective of theatrical making, developing a piece of work about oneself in the face of the profusion of stimuli in different artistic languages and approaches to scenic acting? How to promote a holistic experience in teaching, overcoming the cultural perspective of subject-object, mind-body, body-voice as separated entities? How to articulate current challenges of the artistic-pedagogical practice of the author, relating the principles of Arthur Lessac’s approach with the field of Somatics and with the legacy of pedagogical artists on the potency of physical actions as catalysts of human organicity? Two actions were carried out to shape these questions: 1) the creation, in 2017, of an elective discipline called “Organicity of bodily-vocal action – an approach based on Lessac’s Training” in the Performing Arts course at the Federal University of Grande Dourados (UFGD), which contributed with the reflection about a teaching practice that integrates the areas of body, voice and acting and 2) the creation of the solo scene “Cães”, work in progress, by the Núcleo Teatral Isadora, in which the author of this research is the subject-object, seeking the path of attunement for performing. These activities provided the methods of this research, through the practice of the principles of the Somatic-Performative Approach and self-ethnographical procedures. With the objective of identifying how the attunement of the actor with himself and with the action happens, the term artesanato somático (somatic craft) was created, contributing to materialize and articulate the bodily and vocal processes emanated by actors throughout the creative process and manifested on the performances.