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 | | Theatre of the Oppressed by Augusto Boal ISBN-10: 9780930452490 ISBN-10: 0-930452-49-6 ISBN-13: 9780930452490 ISBN-13: 978-0-930452-49-0 Paperback 1993-01-01 Theatre Communications Group Find Lowest Price |
Editorials | ||
Amazon.com Is the fundamental relationship between an actor and an audience an equal and active one, or is it a situation that encourages passivity and division? This is the question at the heart of Augusto Boal's revolutionary Theatre of the Oppressed, originally published in 1979. Boal, a Brazilian artist and activist, has written a work that challenges the very premise of Western theater, starting with Aristotle and the first dramatists, and explores what social constructs lie behind the traditional theater form. Then, having explained such often invoked (but rarely scrutinized) terms as imitation, tragedy, and justice, he puts forward a new type of drama that bridges the long-existing gap between theater and politics. Central to his thesis is an attempt to bring spectators into an active role with the drama, encouraging them to comment on the social situations they see presented and suggest potentials for change. Other chapters explore the writings of Hegel and Brecht, along with a lengthy analysis of one of the most profound political thinkers to ever pen a play, Machiavelli and his bitter comedy Mandragola. Boal's book is a challenging one for American actors often politically naive and heavily schooled in the traditions of Stanislavsky-based "naturalism," but this text is vital reading for activists, progressives, and all artists trying to effect social change. --John Longenbaugh | ||
Book Description This unique resource for students, teachers and practitioners offers a series of games to illustrate techniques, acts as a mutlimedia encyclopaedia tracing the context and historical development of Theatre of the Oppressed. | ||
Reviews | ||
Blow MY MIND! Buy this. I know that isn't a sentence but wow. This is a life changing work. If you care the minutest bit about theatre, mankind, and the future of both (together and seperate) then feast here. Also, a side benifit is listening to Boal argue AGAINST The Poetics. Good stuff. The begining is a little slow because he begins by very carefully setting up examples and definitions before he begins to explain his actual work and theory. This is nessisary and impressive (citing some ancient Greek philosophers to whom I had never been introduced). I think this book handed me some special x-ray glasses to look through the clothing of our contemporary American theatre. Get yourself a pare. | ||
Extra Credit This should be required reading in our theatre schools, but is generally relegated to the extra credit section of additional reading. Boal expounds some brilliant concepts that should be considered by all contempoary theatre practitioners. Serious theatre goers should read this text as well. | ||
Marxism and Theatre Boal is insane, but not nearly as much as Brecht or Artaud. Boal is essentially a communist that approaches all art from the social-conflict paradigm of sociology (Marxism). He tends to argue that most theatre is made to coerce, and that much of it is made with the power/elite in mind (that is the mildest description I can give you without starting a debate). Whether you agree with Boal or not, his chapters dealing with the Coercive Aristotelian Tragedies are highly educational just in the factual sense of what he presents. If you have any interest in classical or Greek theatre this is definitely a must read. He explains the dynamics of Greek theatre so well that it can almost be used as a text book. | ||
Inspiration for the Artist Perhaps the pursuit of art in this world of massive economic, social and legal inequality is simply privileged playing and bemusement? Perhaps art has no valued, but as marketable, profitable entertainment? Or, perhaps art (and specifically theatre) can actually change the world? Boal is not the first to speak of theater's revolutionary quality, but unlike his predecessors he takes to the street with his theory. Tracing the relationship between the producers of theatre and its audience, Boal exposes the historical oppression imposed by the dramatic machine/conventions of the past. In its place he offers theoretical and practical examples of his "People's theatre" (i.e., paratheatre or interactive theatre). For all seriously minded artist this is a must read. Especially if you wish to understand your role in artistic production and also wish to make a difference with you work. | ||