By Mady Schutzman, Jan Cohen-Cruz
This conscientiously developed and thorough selection of theoretical engagements with Augusto Boal’s paintings is the 1st to seem ’beyond Boal’ and significantly assesses the Theatre of the Opressed (TO) move in context. A Boal spouse appears to be like on the cultural practices which tell TO and discover them inside a bigger body of cultural politics and function thought. The individuals placed TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race idea, feminist functionality artwork, 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 technological know-how is made obvious. the information generated all through A Boal significant other will: extend readers' realizing of TO as a fancy, interdisciplinary, multivocal physique of philosophical discourses supply quite a few lenses during 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 unexpected readers and new scholars to the self-discipline with a great examine source.
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Augusto Boal's workshops and theatre routines are well known through the international for his or her life-changing results. finally this significant director, practitioner, and writer of many books on group theatre speaks out in regards to the topics most crucial to him – the sensible paintings he does with different groups, the consequences of globalization, and the artistic probabilities for we all.
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Additional info for A Boal Companion: Dialogues on Theatre and Cultural Politics
Rather than criticize the forces of science and technology, Marx’s critique was of the particular historical conditions produced by capitalism in which commodities obtain production and exchange value through a process of private accumulation of capital that diminishes human experience and social relations to brute market forces. Alienation, for Marx, results because the laborer is estranged from the labor process, which objectiﬁes labor as a commodity, now alien and oppressive to the producer, whose labor converts him or her into a commodity as well.
1 And so we have endless war abroad and increasing repression at home. It is this scenario that informs my account of critical pedagogy’s value for educators, performers, artists, and activists, and to which I will return after a review of its origins and aims. Origins and aims of critical pedagogy 2 To gather how critical pedagogy might guide us in the current conjuncture, it will be helpful, especially for readers whose primary interest is Theatre of the Oppressed (TO), to understand its origins, aims, and problems in relation to Boal’s work.
São Paolo: Editora Hucitec. —— (1979b) Theatre of the Oppressed, trans. A. L. McBride. New York: Urizen Books. —— (1998) Legislative Theatre: Using performance to make politics, trans. A. Jackson. London and New York: Routledge. —— (2000) Theatre of the Oppressed, New edition (with preface), trans. A. L. McBride. London: Pluto. Franco, J. (2002) The Decline and Fall of the Lettered City: Latin America in the Cold War. Cambridge, MA: Harvard University Press. S. (2000) Flash and Crash Days: Brazilian theater in the post-dictatorship period.
A Boal Companion: Dialogues on Theatre and Cultural Politics by Mady Schutzman, Jan Cohen-Cruz