209 research outputs found
Rehearsing Reality: An Interactive Docufragmentary Exploration of the Theatre of the Oppressed's Engagement with the Brazilian Landless Movement (MST)
No full textThis 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
Augusto Boal: uma homenagem
No full textA 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
Wood Frog and Boreal Chorus Frog Distribution and Habitat Associations in Wapusk National Park, Cape Churchill, Manitoba: 2004 Summary Report
No full textDistribution, abundance, population dynamics, and habitat relationships of anurans that inhabit sub-arctic regions are poorly understood. In addition, concern about amphibian populations at a global scale has resulted in recent efforts to establish monitoring programs for amphibians in North America (e.g., North American Amphibian Monitoring Program) and elsewhere. In an attempt to assess anuran abundance, distribution, and habitat associations in Wapusk National Park in the Cape Churchill region of Manitoba, we conducted 4 3-km transect surveys in 2002 (Boal and Andersen 2003) on the Nestor One Study Area. We detected both boreal chorus frogs (Pseudacris maculata) and wood frogs (Rana sylvatica), but also assessed survey methodology for application to the study area (Boal and Andersen 2003). In 2004, we conducted more extensive surveys to (1) further develop anuran survey protocols suitable for describing distribution and estimating abundance for anurans in sub-arctic areas (Wapusk National Park specifically), (2) assess distribution of anurans at a wider scale than was done in 2002, and (3) assess anuran distribution and abundance near Cape Churchill.Boal, Clint W; Andersen, David E; Reiter, Matthew E; Reichert, Brian. (2004). Wood Frog and Boreal Chorus Frog Distribution and Habitat Associations in Wapusk National Park, Cape Churchill, Manitoba: 2004 Summary Report. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/183521
Wood Frog and Boreal Chorus Frog Distribution and Habitat Associations in Wapusk National Park, Cape Churchill, Manitoba: 2005 Summary Report
No full textConcern about amphibian populations at a global scale has resulted in recent efforts to establish monitoring programs for amphibians in North America (e.g., North American Amphibian Monitoring Program; Weir and Mossman 2004) and elsewhere, although these monitoring efforts have not been extended to subarctic regions. Distribution, abundance, population dynamics, and habitat relationships of anurans that inhabit subarctic regions are poorly understood, and anuran monitoring protocols developed for temperate regions may not be useful across large roadless areas of northern landscapes. Arctic and sub-arctic regions of North America are also areas predicted to experience changes in climate, and in some areas, have experienced habitat alteration due to high rates of herbivory by breeding and migrating waterfowl, especially snow geese (Chen caerulescens). Environmental and habitat changes may influence the distribution and abundance of anurans that inhabit arctic and subarctic regions (Wassersug 1992, Crump et al. 1999)Andersen, David E; Boal, Clint W; Reiter, Matthew E. (2005). Wood Frog and Boreal Chorus Frog Distribution and Habitat Associations in Wapusk National Park, Cape Churchill, Manitoba: 2005 Summary Report. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/183526
Práticas de tortura narradas em Torquemada (1971), de Augusto Boal
No full textThe 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
Species Composition, Distribution, and Habitat Associations of Anurans in a Subarctic Tundra Landscape Near Cape Churchill, Manitoba, Canada
No full textDistribution, abundance, and habitat relationships of anurans that inhabit subarctic regions are poorly understood, and anuran monitoring protocols developed for temperate regions may not be applicable across large roadless areas of northern landscapes. In addition, arctic and subarctic regions of North America are predicted to
experience changes in climate and, in some areas, recently have experienced habitat alteration due to high rates of herbivory by breeding and migrating waterfowl. To better understand subarctic anuran abundance, distribution, and habitat associations, we conducted anuran calling surveys in the Cape Churchill region of Wapusk National Park, Manitoba in 2004 and 2005. We conducted surveys along ~1-km transects distributed across 3 landscape types (coastal tundra, interior sedge meadow/ tundra, and boreal forest/ tundra interface) and estimated the probability of detection and density of Boreal Chorus Frogs (Pseudacris maculata) and Wood Frogs (Rana sylvatica). We detected a Wood Frog or Boreal Chorus Frog on 22 (87%) of 26 transects surveyed, and probability of detection varied between years and species and among landscape types. Estimated density of both species increased from the coastal zone inland toward the boreal forest edge. Our results suggest that anurans occur across a wide range of habitats in this subarctic tundra landscape, that there are spatial patterns in anuran abundance, and that considerations for both spatial and temporal variation need to be incorporated into surveys for subarctic anurans.Reiter, Matthew E; Boal, Clint W; Andersen, David E. (2006). Species Composition, Distribution, and Habitat Associations of Anurans in a Subarctic Tundra Landscape Near Cape Churchill, Manitoba, Canada. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/183608
O teatro do oprimido e A corda: : interfaces entre a estética teatral de Augusto Boal e a obra de Pepetela
No full textThe aim of this article is to investigate possibilities of interfaces that intertwine theatrical literary expressions, more precisely the theater of the oppressed by the theater director, playwright and essayist Augusto Boal, and The rope, by the Angolan author Pepetela. In our analytical course, we will focus on Boal proposal and its specificities, especially in the works Theater of the oppressed and other political poetics (1980) and Aesthetics of the oppressed (2009), with a critical and theoretical approach to the concepts of this aesthetic that he wanted, through theatrical techniques and pedagogical, social and political aspects, to encourage the participation and protagonism of the population in the social issues they experienced. Similarly, we will approach the structure and historiographical theme of the play The rope (1978) by Pepetela, which marks the passage of the African author from the novel to the theatrical genre. The work, inserted in the context of the post-independence period, deals with political issues and the struggle for power in Angola. We propose to seek evidence of points of convergence that stand out between the two artistic expressions, in them we access the idea of sensitization to sociopolitical ideals and the exercise of critical thinking regarding the anti-colonialist struggle.Pretende-se, por meio deste artigo, investigar possibilidades de interfaces que entrelacem expressões literárias teatrais, mais exatamente o teatro do oprimido do diretor de teatro, dramaturgo e ensaísta Augusto Boal, e A corda, do autor angolano Pepetela. Em nosso percurso analítico, nos deteremos na proposta de Boal e em suas especificidades, mormente se encontrem contempladas nas obras Teatro do oprimido e outras poéticas políticas (1980) e Estética do oprimido (2009), com abordagem crítica e teórica dos conceitos dessa estética que almejava, por intermédio de técnicas teatrais e aspectos pedagógicos, sociais e políticos, fomentar a participação e o protagonismo da população nas questões sociais que vivenciavam. Analogamente, abordaremos a estrutura e a temática historiográfica da peça A Corda (1978), de Pepetela, que marca a passagem do autor africano do gênero romanesco para o teatral. A obra, inserida no contexto do período pós-independência, trata das questões políticas e da luta pelo poder em Angola. Propomo-nos a buscar evidências de pontos de convergências que se sobressaiam entre as duas expressões artísticas, nelas acedemos à ideia de sensibilização para os ideais sociopolíticos e o exercício do pensamento crítico no que tange à luta anticolonialista
O teatro do oprimido e A corda: : interfaces entre a estética teatral de Augusto Boal e a obra de Pepetela
No full textThe aim of this article is to investigate possibilities of interfaces that intertwine theatrical literary expressions, more precisely the theater of the oppressed by the theater director, playwright and essayist Augusto Boal, and The rope, by the Angolan author Pepetela. In our analytical course, we will focus on Boal proposal and its specificities, especially in the works Theater of the oppressed and other political poetics (1980) and Aesthetics of the oppressed (2009), with a critical and theoretical approach to the concepts of this aesthetic that he wanted, through theatrical techniques and pedagogical, social and political aspects, to encourage the participation and protagonism of the population in the social issues they experienced. Similarly, we will approach the structure and historiographical theme of the play The rope (1978) by Pepetela, which marks the passage of the African author from the novel to the theatrical genre. The work, inserted in the context of the post-independence period, deals with political issues and the struggle for power in Angola. We propose to seek evidence of points of convergence that stand out between the two artistic expressions, in them we access the idea of sensitization to sociopolitical ideals and the exercise of critical thinking regarding the anti-colonialist struggle.Pretende-se, por meio deste artigo, investigar possibilidades de interfaces que entrelacem expressões literárias teatrais, mais exatamente o teatro do oprimido do diretor de teatro, dramaturgo e ensaísta Augusto Boal, e A corda, do autor angolano Pepetela. Em nosso percurso analítico, nos deteremos na proposta de Boal e em suas especificidades, mormente se encontrem contempladas nas obras Teatro do oprimido e outras poéticas políticas (1980) e Estética do oprimido (2009), com abordagem crítica e teórica dos conceitos dessa estética que almejava, por intermédio de técnicas teatrais e aspectos pedagógicos, sociais e políticos, fomentar a participação e o protagonismo da população nas questões sociais que vivenciavam. Analogamente, abordaremos a estrutura e a temática historiográfica da peça A Corda (1978), de Pepetela, que marca a passagem do autor africano do gênero romanesco para o teatral. A obra, inserida no contexto do período pós-independência, trata das questões políticas e da luta pelo poder em Angola. Propomo-nos a buscar evidências de pontos de convergências que se sobressaiam entre as duas expressões artísticas, nelas acedemos à ideia de sensibilização para os ideais sociopolíticos e o exercício do pensamento crítico no que tange à luta anticolonialista
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