Download PDF by Mady Schutzman, Jan Cohen-Cruz: A Boal Companion: Dialogues on Theatre and Cultural Politics
By Mady Schutzman, Jan Cohen-Cruz
This rigorously built and thorough choice of theoretical engagements with Augusto Boal’s paintings is the 1st to seem ’beyond Boal’ and seriously assesses the Theatre of the Opressed (TO) flow in context. A Boal spouse seems to be on the cultural practices which tell TO and discover them inside of a bigger body of cultural politics and function idea. The members positioned TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race thought, feminist functionality paintings, Deleuze and Guattari, and liberation psychology – to call quite a few, and in doing so, the kinship among Boal’s venture and a number of fields of social psychology, ethics, biology, comedy, trauma reports and political technology is made obvious. the guidelines generated all through A Boal spouse will: extend readers' knowing of TO as a posh, interdisciplinary, multivocal physique of philosophical discourses supply quite a few lenses by which to perform and critique TO make specific the connection among TO and different our bodies of labor. This assortment is perfect for TO practitioners and students who are looking to extend their wisdom, however it additionally offers strange readers and new scholars to the self-discipline with a very good examine source.
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Additional info for A Boal Companion: Dialogues on Theatre and Cultural Politics
As Amalia Gladhart has observed, “Boal’s theory presupposes that the position of onlooker is inherently oppressive for the spectator. The nonintervening bystander, however, also facilitates oppression, allowing torture to continue unchecked, accepting spurious ‘explanations’ of disappearance and imprisonment” (2000: 21). By this reckoning there is no neutral place in theatre or in politics. It is not simply that the failure to act is a kind of complicity with dictatorial powers; coercion is imbricated in this kind of participation and, in theatre, “the audience must be whipped into shape” (Gladhart 2000: 226).
Our debt to political theatre would be in the ways it makes these social capacities and intersections legible and accessible. Theatre may gather its crowds under the sign of community, the popular, the national, the postcolonial. In each of these terms some reason for being together is both afﬁrmed but also rendered problematic. Conventionally, theatre may promise the identiﬁcation of a local audience with a more global concept, but when the performance ends, the audience disperses, and with that ends the theatre’s ability to mobilize a public.
Boal’s understanding of how to conjoin theatrical engagement with concrete strategies of political organizing remains exemplary. Whether in the onstage battles with the censors when he was director of the Arena Stage, the work with literacy movements in Latin America, or the Legislative Theatre work, Boal has remained tied to a broader movement for social change. The clear split between subject and object, the actor and the acted upon, the active and the passive is as fundamental to Boal’s notion of oppression as to his notion of theatre.
A Boal Companion: Dialogues on Theatre and Cultural Politics by Mady Schutzman, Jan Cohen-Cruz