Download Playing Boal: Theatre, Therapy, Activism by Jan Cohen-Cruz, Mady Schutzman PDF
By Jan Cohen-Cruz, Mady Schutzman
Taking part in Boal examines the options in software of Augusto Boal, author of Theatre of the Oppressed, Brazilian theatre maker and political activist. this article appears on the use of the Theatre of the Oppressed workouts by way of numerous practitioners and students operating in Europe, North the United States and Canada. It explores the chances of those instruments for "active studying and private empowerment; co-operative schooling and therapeutic; participatory theatre and group action." This assortment is designed to light up and invigorate dialogue approximately Augusto Boal's paintings and the transformative power of theatre. It comprises interviews with Boal, and items of his personal writing.
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Additional info for Playing Boal: Theatre, Therapy, Activism
Sample text
1989) “New leader for Brazil: Fernando Collor,” The New York Times, December 20, sec. 8. L. (1947) Theatre of Spontaneity. New York: Beacon House. 32 Part I SPECIFYING: Case studies OUT OF THE SILENCE Headlines Theatre and Power Plays David Diamond INTRODUCTION The Power Play work of Headlines Theatre has grown out of our contact with Augusto Boal. A Power Play is a week-long workshop in which the participants develop short theatre pieces on issues that are of concern to them. We then facilitate a forum with these theatre pieces in the participants’ community.
I often find myself working in situations beyond my own familiar experience and outside my own culture. The joker does not have to be an expert on the issues but can draw on the expertise that is in the room. The Power Play becomes a vehicle of learning for everyone involved—audience, actors, jokers, designers, etc. 36 OUT OF THE SILENCE Through my work with the Gitksan and Wet’suwet’en people on our co-production NO ? XYA ? (Our Footprints), I have come to believe that culture and geography are inextricably linked.
This was impor tant as some of the participants were leaving us at this point and needed a sense of 41 DAVID DIAMOND closure. The forum also helped everyone understand the kind of play we were going to be making—how it had to be different from normal presentational theatre and build to a crisis without offering solutions. There had been some resistance to this concept throughout the workshop—why do the play if all we were going to show was the problem? Finally the participants saw the value of the solutions coming from the audience, and how powerful a vehicle for healing and change the forum could be.