1,148 research outputs found
Letter with attachment: Robert Boal to Ida M. Tarbell, October 21, 1899
No full textHandwritten letter with typed transcript of Lincoln letter, September 14, 1858, printed document regarding Robert Boa
Rehearsing Reality: An Interactive Docufragmentary Exploration of the Theatre of the Oppressed's Engagement with the Brazilian Landless Movement (MST)
Get PDFThis thesis explores the Theatre of the Oppressed's practices at the point of interaction with peasants of Brazil's Landless Movement. It uses the interactive docufragmentary entitled Rehearsing Reality to explore the social and political role of art, and to ask whether particular applications of theatre and film can be used to understand and possibly transform points of view and raise consciousness about contemporary issues in the world.
The Theatre of the Oppressed created by Augusto Boal comprises a series of interactive games, exercises and other theatrical methods developed with the purpose of using these drama techniques as a subjective medium contributing both to question and search alternatives for personal and social problems. Amongst its theatrical methods is Forum Theatre, the main practice adopted by Brazil's Landless Movement. This technique breaks with the conventions of the traditional language of theatre. Its main aim is to transform passive audiences into active participants of a theatrical scene. This thesis argues that Forum Theatre is an open medium that offers people the chance to participate democratically in the theatrical space in order to suggest and rehearse new ideas to be applied into their lives.
In order to explore how these theatrical experiences work in practice this thesis includes a central element entitled Rehearsing Reality, which is specifically designed to adapt some of the main features from Forum Theatre to film language. Its aim is to activate viewers to interact with the film process. This thesis also explores the historical developments of the Theatre of the Oppressed with major emphasis on Forum Theatre and its practices amongst members of Brazil's Landless Movement living in camps and settlements in the hinterland of Sergipe State, North-East of Brazil.
The structure of the thesis is divided into five parts: Chapter One analyses the relevant literature on the subject; Chapter Two provides a reflective account of the filming period; Chapter Three offers an overview of Boal' s life and the development of the Theatre of the Oppressed methods; Chapter Four briefly looks at the history and development of the Brazilian Landless Movement and provides a practical analysis of the experiences of Theatre of the Oppressed amongst the Landless Movement and Chapter Five analyses the creative process of making the docufragmentary Rehearsing Reality. The Conclusion suggests that the social and political aspect of art can significantly contribute to the process of comprehension and transformation of the world
Certo Augusto Boal
No full textInternacionalmente conhecido e respeitado, o diretor de teatro, dramaturgo, teórico, autor, entre outras, das propostas enfeixadas na rubrica Teatro do Oprimido, o múltiplo Boal se unifica no Boal militante, sempre atento às causas políticas, sociais, humanas. Atento e atuante. Este artigo pouco pretende além de repercutir essas qualidades, e, no percurso, somar ao reconhecimento.Internationally known and respected, the theatre director, playwright, theorist, author, among others, of proposals gathered under the label Theatre of the Oppressed, the multiple Boal unifies himself in the militant Boal, who is always attentive to political, social and human causes. Attentive and active. This essay intends but to reverberate those qualities and, in its course, add to his recognition
B. M. Boal, The Konds. Human Sacrifice and Religious Change
No full textCarrin-Bouez Marine. B. M. Boal, The Konds. Human Sacrifice and Religious Change. In: L'Homme, 1985, tome 25 n°94. pp. 174-175
Augusto Boal: uma homenagem
Get PDFA autora recorre a sua experiência direta com Augusto Boal, falecido em maio de 2009, e relata algumas realizações do teatrólogo quando de sua volta ao Brasil em meados da década de 80 do século passado. Ilustrado com exemplos colhidos em sua memória, com apontamentos pessoais e documentos da época, o texto presta uma homenagem ao diretor.The author reports some of her experiences with Augusto Boal in the early 80’s of the 20th centur, when the director returned to Brazil to create a Popular Theater Factory in Rio de Janeiro. The article emphasizes some of Boal’s artistic and political actions in this period. Based on her memories and on some documents of the foundation of the Center of the Theater of the Oppressed in Rio (CTO-Rio), the author makes a historical report and pays homage to the world famous theater director who died recently
Exploring social identity through theatre : an examination of the process of creating Jingle Dreams with youth in the coloured community of Clanwilliam
No full textIncludes bibliographical references (leaves 58-62).This dissertation examines the process of creating Jingle Dreams with the youth in Clanwilliam. It aims to ascertain whether the processes of Community Theatre drama create opportunities for the individuals in the identified community to explore a social identity influenced by historical legacy, heritage, memory (or absence thereof) and socio-economic environment. The intention of the dissertation is influenced by the Applied Drama mission to benefit individuals, communities and societies through artistic forms of intervention such as dramatic activities, theatre directing, mediation and discussions. I will examine how the processes and the performative qualities of drama and theatre have the potential to transform individuals and society. Community Theatre creates the space for young people to share and question common experiences of life. This ensures that marginalised voices are heard which has psychological and social benefits for the participants. The dissertation proposes to interrogate how young people revealed their social identity through the narrative structure, dialogue, stereotypes and symbols in Jingle Dreams. I have been strongly motivated by the work of Augusto Boal which was the source of a large part of the dramatic processes. In the research process, the young people belonging to The Community Networking Creative Arts Group were encouraged to find their own forms of artistic, cultural and theatrical expression. During the rehearsal process, the group improvised and developed many scenes which reflected issues such as alcoholism, drug abuse, domestic violence and intergenerational tension. The narrative of the performance was based both on their stories and on stories from their community. It reflected their circumstances, their struggles, their hopes and their dreams. Theatre devised in community situations reflects concern with the representation of memory, and participants are invited to recognise that autobiographical narratives have social, communitarian and historical significance, as well as personal relevance. Performers drew on their own experiences to devise the scenes. This process often emphasised how the boundaries between truth and fiction are blurred. The lack of a clear distinction between fact and art facilitated the revelation, exploration and contestation of social identity
Celebrating five years of innovative care in the community
Get PDFThe Eating Disorder Project (EDP) started as a one-year pilot project, commissioned by local GPs in a borough of London in January 2016.The idea actually sprouted when Miranda Boal now the service lead, left her post in a secondary care eating disorders service to help set something up in the community.Dr Martina Gerada tells us more
Práticas de tortura narradas em Torquemada (1971), de Augusto Boal
Get PDFThe purpose of this study was understanding and historicizing the theatrical text Torquemada (1971), by the way of the investigation of representations built about torture during the brazilian dictatorship s period by the dramatist Augusto Boal and also through the connections of the dramatic form on which the play is settled the curinga system with the social experience.
We found out that in the preparation of characters acting there was an intention of the author to provoke a determinate effect in the reader/spectator, that s ever oscillating and non-excluding: sometimes using resources to suscitate the identification with the victims of torture, sometimes promoting the right critical distance to stir up repugnance against the violence shown in almost all the scenes.
However, for the understanding of the narrative s organization with variable ways of implication of the reader/spectator in regard to the scene (identification or distance) was needful to reflect, previously, about the dramatist s creative process, searching the references and the repertory utilized by him. We detached the questions relative to the Teatro de Arena s public, on which we took as reference the testimonies of the group s members and also the interpretations of critics and academics studies after accomplished, as well as the stanislaviskian and brechtian references on the Boal s
artistical activity. After that, we d focus the discussion about the elaboration and reproduction of a specific theatrical language the curinga system by means of
the theoretical texts written by Augusto Boal and the interpretations elaborated by critics and academicians.
At last, we sought to interpret the dramatic text Torquemada, taking into consideration that form doesn t exist in itself, but that the curinga system s structure just make sense when it s associated with a transmited content.Mestre em HistóriaEste estudo teve como finalidade compreender e historicizar o texto teatral Torquemada (1971), tanto por meio da investigação das representações construídas sobre a tortura no período da ditadura militar no Brasil pelo dramaturgo Augusto Boal quanto através das relações entre a forma dramática em que a peça está assentada o sistema curinga e a experiência social.
Verificamos que na elaboração da ação das personagens havia a intenção do autor em provocar um certo efeito no leitor/espectador, sempre oscilante e não excludente:
ora com recursos para suscitar a identificação com as vítimas de tortura, ora promovendo a devida distância crítica para incitar o repúdio à violência mostrada em quase todas as cenas.
Entretanto, para compreender a organização da narrativa com maneiras variáveis de implicar o leitor/espectador em relação à cena (identificação ou distância) exigiunos antes uma reflexão sobre o processo criativo do dramaturgo que buscasse referências e o repertório a que ele recorria. Problematizamos questões relativas ao público do Teatro de Arena embasadas nos depoimentos de participantes do grupo e nas interpretações de críticos e de estudos acadêmicos posteriores e as referências
stanislaviskianas e brechtianas na atividade artística de Boal. Em seguida, nossa discussão convergiu para a elaboração e reprodução de dada linguagem teatral o sistema curinga verificada nos textos teóricos escritos por Augusto Boal, e nas
interpretações elaboradas por críticos e por acadêmicos.
Por fim, procuramos interpretar o texto dramático Torquemada, cientes de que a forma não existe em si, e que a estrutura do sistema curinga faz sentido apenas quando
associada a um conteúdo transmitido
Adapting Boal's legislative theatre : producing democracies, casting citizens as policy experts
Get PDFtextIn 1992, Augusto Boal, founder of the globally influential repertoire of performance techniques known as Theatre of the Oppressed, was elected as a vereador, essentially the equivalent of city councilor in Rio de Janeiro, Brazil. Boal and his office staff used theatre as their primary method for collecting citizen input about legislation. His term lasted from 1993 to 1997, and his office shepherded thirteen bills to their successful passage as law.
This dissertation examines three twenty-first century Legislative Theatre projects, all drawing on techniques from Boal’s initial Legislative Theatre project but staged in North America. The case studies include Practicing Democracy, a 2004 production by Headlines Theatre in Vancouver, British Columbia, Canada, a project that directly engaged the Vancouver City Council; a Legislative Theatre workshop facilitated by Augusto Boal and his son Julian Boal as part of the pre-conference of the annual Pedagogy and Theatre of the Oppressed Conference in Omaha, Nebraska, in May 2008, an event that culminated with a performance in the Omaha City Council Chambers; and The Eye & Tooth Project: Forum Theatre on the Death Penalty, a 2009 workshop and performance in Austin, TX, exploring how participants could practice lobbying skills through theatre.
With these three theatre processes as examples, I explain how using Forum Theatre as the primary method for Legislative Theatre constructs citizenship as a process of collective knowledge-building. These projects stage citizenship as a collaborative act through which citizens gather to teach each other about their experiences with policy. Each production differently constructs performance as a “think tank” epistemology—an embodied way of building and transferring knowledge about legislation. I describe how Legislative Theatre think tanks dismantle traditional discourses of “detached” expertise by constructing citizens themselves as experts. In the process of making these larger arguments, this dissertation also addresses a variety of practical questions useful for future practitioners of Legislative Theatre: How was each project designed? What were its goals? How did the creators apply performance toward those goals? How and why did they forge connections (or not) with lawmaking bodies? For what communities might the projects have been more or less accessible?Theatre and Danc
Kelley, Joseph M. (Birth, 1905-03-08)
No full textAddress: 307 Boal St.987/Pg.25/1905/M W/Ind./Cinti, Ohio/Dr. E. H. MossOriginal record filed in drawer labeled 'Kelley-Kennealy'
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