Studies on Edna St. Vincent Millay (1892—1950) contain gaps. Her work is yoked to a dated romanticism, incompatible with the formal revolutions that founded the modernist canon. Nevertheless, she was a contemporary of authors who forged this canon. A formal analysis of her work that takes into account more consensual criteria in studies of form is essential to reflect on this; but limiting oneself to this analysis would be insufficient to understand the complexity of a work such as the play Aria da capo, which seems simple at first, but bears within itself the core of these gaps to be investigated around Millay. Taking into account some key concepts in Translation Studies, which have been consolidated since the Cultural Turn that combines Cultural Studies with Feminist Studies, and also based in Paulo Henriques Britto s fundamental premise according to which the formal aspects of a text often contain more poetic character than the meaning of the words, this research aims to present an annotated translation of this play. The aim is to analyze its translational challenges without neglecting the specificities of theater translation, which, in this case, also includes problems of poetry translation, since it is a drama in verse from the early 20th century. By touching on the idiosyncrasies of this author s work through the translation of this play, observing her aesthetic proposal and her ideals in order to reflect on the role she occupies, this study intends to contribute to the dissemination of her work.