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Transcript of Augusto Boal
How Did He Begin?
Due to the majority of people being dependent on words to express themselves, exercises in this stage help spectators become more comfortable using their bodies to express themselves
Let's Read the Paper!
2. Funeral March
Books Written by Boal...
What is theatre of the Oppressed
"which is, in its most archaic sense, our capacity to observe ourselves in action." (7, Legislative theatre, Augusto Boal.)
Non actors replacing actors! (Oh please, tell us more!)
Spectators are strongly encouraged to participate in Theatre of the Oppressed but in order to perform, one must participate in exercises to get warmed up. Augusto Boal divides each step to transforming the spectator into actor by the following steps...
Quirks, quarks, and body image
"the objective of making each person aware of his own body, of his bodily possibilities and of deformations suffered because of the type of work he/she performs"(Boal, Theatre of the Oppressed, 127).
Education and Awards
Exile and Political Drama
Exercise: Into the West!
This ain't no sissy exercise!
First Stage: Knowing the Body
Exercise: Two of Every Animal (Mostly)
Moo, Baa, Laa Laa Laa
Second Stage: Making the Body Expressive
Inclusion of everybody!
"asked to express their views on a certain theme of common interest that the participants wish to discuss." (Boal, Augusto, Theatre of the Opressed, 135).
Expression through bodies of others, not by speaking
Superpowers? Oh wait...not.
"presentation of a scene in an environment other than the theatre, before people who are not spectators" (Boal, Augusto, Theatre of the Oppressed, 145).
But where does it happen?
Triumphant Return to Brazil and CTO-Rio
...and Some Juicy Controversy!
Plays: Written and Directed
Directed "Mandragora" and applied Stanislavkian principles- 1962
"Arena Conta Zumbi", co written by Boal and Guarnieri- 1965
Brecht's "The Resistible Rise of Arturo Ui"- 1971
Weapons of Mass Performance
Spectators Can Act Too!
Wait...what? What black magic is this?
Third stage: Theatre as a Language
LET'S TRY IT!
Specators taken into high account
"The participants are asked to tell a story containing a political or social problem of difficult solution. Then a ten fifteen minute skit portraying that problem and the solution intended for discussion is improvised or rehearsed." (Boal, Augusto, Theatre of the Oppressed, 139.)
Discussion and inclusion of audience
This style of theatre is based on the analysis of people's relationships with one another. Ritual/Mask theatre looks at how the status of people change the ways people communicate with one another.
The Priest and the Confessor
Theatre of the Oppressed- 1973
Games for Actors and Non-actors- 1992
The Rainbow of Desire- 1995
Legislative Theatre- 1998
Hamlet and the Baker's Son- 2001
Published many articles
Fourth Stage: Theatre of Discourse
Using all our weapons!
"the bourgeois theatre is the finished theatre. the bourgeoisie presents the spectacle. On the other hand the proletariat and the oppressed classes do not know yet what their world will be like." (Boal, Augusto, Theatre of the Oppressed, 142).
Examples of theatre in this stage of practice are Newspaper Theatre, Invisible Theatre, and Ritual/Mask Theatre
UNESCO Pablo Picasso Medal-1994
Doctorates from UNB and QMU London- 1996-2001
Prince Claus Award- 2007
Cross Border award- 2008
Nominated for Nobel Peace Prize- 2008
Playwriting as a child
Cultural Activism= Political Drama
Kidnap and Torture
Exile to Argentina and Europe
Published Theatre of the Oppressed in Argentina- 1973
A specific role
The referee or judge
Relates more to the audience than to the performance
Sound a little Brechtian to anybody?
"Everyone can do theatre: even actors!"
This was "the sentence that caused me some problems."
Necessity of training and traditional skills
Aristotle and Greek Theatre
Invisible Theatre, Forum Theatre, Ritual Theatre, etc
Aristotle created the first system of connecting theatre, art and politics.
Used to intimidate spectator.
"Art imitates nature actually means: art re-creates the creative principle of created things"
watching an actor portray a character is a great way to understand the thought and psychology of a human being
Wanted to go further to the point of getting spectators to participate in the creative process of acting.
Boal thought Epic Theatre was epic.
Babbage, Frances. Augusto Boal. London: Routledge, 2004.
Boal, Augusto. Legislative Theatre: Using Performance to Make Politics. London: Routledge, 1998. Print.
Boal, Augusto. Theatre of the Oppressed. New York: Theatre Communications Group, 1985.
Paterson, Doug. "A Brief Biography of Augusto Boal." Pedagogy and Theatre of the Oppressed Inc. © 2013 Pedagogy and Theatre of the Oppressed, Inc., n.d. Web. 10 Feb. 2013. <http://ptoweb.org/>.
Patterson, Doug. A Brief Biography of Augusto Boal. http://ptoweb.org/aboutpto/a-brief-biography-of-augusto-boal/. 2013, Pedagogy and Theatre of the Oppressed Inc.
Return in 1986
Center for Theatre of the Oppressed in Rio
Worker's Party and election
Changing laws, kicking ass, and taking names
Hodge, Alison. Actor Training. London: Routledge, 2010.
Boal, Augusto. Theatre of the Oppressed. New York: Theatre Communications Group, 1985. Print.
And now...a short video!
Rachel Hiebert and