Relevant bibliographies by topics / Theatre of oppressed

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Theatre of oppressed'

Author: Grafiati
Published: 5 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Theatre of oppressed"

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Rollie, Emily. "Creating Artful Dialogues: David Diamond’s Theatre for Living." Canadian Theatre Review 138 (March 2009): 101–2. http://dx.doi.org/10.3138/ctr.138.017.

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Written by David Diamond, artistic director of Vancouver-based Headlines Theatre, Theatre for Living articulates Diamond’s philosophy of creating community-based, forum theatre. Influenced significantly by Theatre of the Oppressed pioneer Augusto Boal, Diamond recognizes the need to develop the language of Theatre of the Oppressed beyond the strict designations of “oppressor” and “oppressed.” Acknowledging the diversity of the communities in which he works, Diamond combines systems theory and theatre as a way to “understand [his] own evolving work better” and to “stimulate discussion about the
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Hamel, Sonia. "When theatre of the oppressed becomes theatre of the oppressor." Research in Drama Education: The Journal of Applied Theatre and Performance 18, no. 4 (2013): 403–16. http://dx.doi.org/10.1080/13569783.2013.836918.

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Szeman, Ioana. "Lessons for Theatre of the Oppressed from a Romanian Orphanage." New Theatre Quarterly 21, no. 4 (2005): 340–57. http://dx.doi.org/10.1017/s0266464x05000217.

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In this article, Ioana Szeman makes a case for combining micro- and macro-analyses of power relations in Theatre of the Oppressed and other community theatre work, and for borrowing methods from anthropology and performance studies – including fieldwork – in both the planning and implementation stages. It focuses on Alternative, a project carried out in a Romanian orphanage in 1997, which illustrated the dangers of treating Theatre of the Oppressed as a technique to be passed down to the marginalized. Contrary to Augusto Boal's belief that, in Theatre of the Oppressed, ‘it is more important to
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Dalaqua, Gustavo H. "Using Art to Resist Epistemic Injustice." Contention 8, no. 1 (2020): 93–114. http://dx.doi.org/10.3167/cont.2020.080107.

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This article argues that the aesthetics of the oppressed—a series of artistic practices elaborated by Augusto Boal that comprises the theatre of the oppressed, the rainbow of desire technique, and legislative theatre—utilizes art in order to resist epistemic injustice and promote democratic freedom. By constraining people’s ability to know and explore the potentialities of their bodies and desires, epistemic injustice perpetuates oppression and blocks the advent of democratic freedom. Whereas the theatre of the oppressed tackles corporal oppression, the rainbow of desire technique resists psyc
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Thevanayagam, Thevananth. "Srilankan Post-War Tamil Theater speaks about 'War Tragedies'." Maayan International Journal of Tamil Research (MIJTR) 2, no. 3 (2022): 1–13. https://doi.org/10.5281/zenodo.7370983.

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ABSTRACT:              The theatre is a reflection of social reality. Theatre can be described as man's weapon for change and self - realization as he struggles to overcome the forces that are hostile to him in order to  urvive. he theater draws people’s attention through a dramatic presentation of issues. It makes the audience see their problems in new and critical ways. Northern Sri Lanka Tamil theatre has always sought to address ethnic conflict issues and war affecting the community. The people of the war-torn area are oppressed in various
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Warner, Lesley. "Theatre of the oppressed and homeless." Mental Health Practice 11, no. 8 (2008): 16–17. http://dx.doi.org/10.7748/mhp.11.8.16.s17.

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Howard, Leigh Anne. "Speaking theatre/doing pedagogy: re‐visiting theatre of the oppressed." Communication Education 53, no. 3 (2004): 217–33. http://dx.doi.org/10.1080/0363452042000265161.

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Prateek, Kumar. "REPERCUSSION OF DIGITAL TECHNOLOGY ON AUGUSTO BOAL'S THEATRE OF OPPRESSED: AN INVESTIGATION." International Journal of Advance and Applied Research 2, no. 20 (2022): 59–64. https://doi.org/10.5281/zenodo.7049422.

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<strong><em>Abstract:</em></strong><em> </em> <em>Augusto Boal, a Brazilian playwright, developed the aesthetic technique known as &quot;Theatre of the Oppressed&quot; (TO), which encourages critical observation and portrayal of reality while imagining the creation of consciousness and practical acts. Augusto Boal aimed to change the &quot;monologue&quot; of a conventional performance into a &quot;dialogue&quot; between the audience and the stage. Theatre of the Oppressed does not function as either entertainment or political propaganda. It is a type of community-based popular education that i
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Forth, Laura J., and Mixed Company. "On the Streets with Cobblestone Youth Troupe: A Dossier." Canadian Theatre Review 106 (March 2001): 39–45. http://dx.doi.org/10.3138/ctr.106.008.

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Mixed Company is a Canadian Centre of Theatre of the Oppressed and an established popular theatre company since 1983.1 Based in Toronto, this not-for-profit theatre is a member of the Toronto Theatre Alliance and the Theatre for Young Audiences Association of Ontario. In addition to our regular professional season, Mixed Company also works with communities and individuals to develop options, alternatives and solutions to key social issues through an interactive dramatic process. Mixed Company’s mandate is to use theatre as a tool for social change, and to this end we blend the work of Augusto
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Wynne, Laura. "Empowerment and the individualisation of resistance: A Foucauldian perspective on Theatre of the Oppressed." Critical Social Policy 40, no. 3 (2019): 331–49. http://dx.doi.org/10.1177/0261018319839309.

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Waterloo, in Sydney, Australia, is a neighbourhood currently dominated by a large public housing estate. The estate is to be redeveloped to be a ‘socially mixed’ community largely comprised of private residents. Many current residents of Waterloo have organised in opposition to the redevelopment. At the same time, government and community development agencies have implemented a number of capacity building and consultation programmes for residents, including a theatre performance. Programmes of empowerment are increasingly used by the state and the third sector to encourage disadvantaged or mar
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Dissertations / Theses on the topic "Theatre of oppressed"

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Hauman, Amanda. "Rebonding Anomic Communities with Theatre of the Oppressed." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2379.

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This thesis explores whether Augusto Boal’s Theatre of the Oppressed (TO) can help anomic communities, affected by deindustrialization and globalization, in the U.S. Midwest, specifically looking at Saginaw, MI. After presenting a paper at the American Symposium for Theatre Research (ASTR) conference in 2009, the author attended a Theatre of the Oppressed facilitator training in Port Townsend, WA under the direction of Marc Weinblatt. She then conducted her own Theatre of the Oppressed workshop in Saginaw, MI to analyze the abilities of Theatre of the Oppressed in an anomic community. Each exp
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.

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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relatio
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Medina, Carmen Liliana. "Theatre of the oppressed and theatre in education : a reflection on Paulo Freire's theories." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240234778.

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CRUZ, PAMELA PEREGRINO DA. "DIALOG’S CENTRALITY IN THE PEDAGOGIC DIMENSION OF THEATRE OF THE OPPRESSED: BETWEEN SOCRATIC METHOD AND PEDAGOGY OF THE OPPRESSED." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17546@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>O Teatro do Oprimido (TO) é um método de alfabetização estética, sistematizado por Augusto Boal, que visa à transformação da realidade e à humanização através de meios estéticos e a partir do diálogo. Este trabalho analisa o papel do diálogo no TO. A primeira parte apresenta uma análise de algumas pesquisas sobre o TO, buscando revelar as interpretações dadas ao papel do diálogo. A segunda parte analisa a obra de Augusto Boal apresentando o desenvolvimento histórico da dimensão pedagógica do TO e revela as influências dos process
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Jacobson, Erika. "Theatre of the oppressed and the transformative practitioner: An aesthetic of presence, motivation and reflection." Thesis, Jacobson, Erika (2014) Theatre of the oppressed and the transformative practitioner: An aesthetic of presence, motivation and reflection. PhD thesis, Murdoch University, 2014. https://researchrepository.murdoch.edu.au/id/eprint/26380/.

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Theatre of the Oppressed (TO) is a social theatre methodology that offers creative tools and generative processes through which participants can aesthetically explore their individual and collective struggles and oppressions. In these processes the practitioner strives to create moments in which participants can examine the power dynamics present in these struggles and rehearse possibilities for transforming them in positive ways. However, while the practice is well established, research into this potentially transformative and generative work is in its infancy. This autoethnographic thesi
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Silva, Pedro. "Exploring Theatre of the Oppressed and Media Synchronicity to Supplement Virtual Learning Environments: Experiences with Mados." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5867.

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This thesis explored the application of Media Synchronicity Theory and its potential for translating Critical Pedagogy (specifically Boal's Theatre of the Oppressed) into a computer- supported collaborative work (CSCW) environment. It introduces the Maquina dos Oprimidos (Mados) prototype, a CSCW supplement to traditional asynchronous learning networks. Mados operates as a role-playing debate game, in which students debate a pre-selected prompt while performing assigned character roles. The study explores the prototype's potential to affect student's identification with their assigned characte
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Santos, Márcio Silveira dos. "Tragédia na sala de aula : um estudo de práticas de teatro na Educação de Jovens e Adultos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/25909.

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A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a r
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Jester, JuliaGrace J. "A Feminist Social Psychological Study Utilizing Theatre of the Oppressed Methods to Explore Issues of Women’s Voices." Miami University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=miami1059074145.

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Jester, JuliaGrace J. "A feminist social psychological study utilizing theatre of the oppressed methods to explore issues of women's voices." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1059074145.

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Maritz, Gerrit Ulrich. "An appreciative inquiry approach to community theatre on HIV and AIDS education for young people." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26490.

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This dissertation positions Community Theatre as an agency for development and education based on the educational principles of Freire and Boal’s Theatre for Development. The dissertation argues that Appreciative Inquiry can enrich the practice of Community Theatre by approaching HIV and AIDS education through an asset-based, participatory, inclusive, learner-centred approach. The dissertation further hypothesises that the infusion of the 4-D process of Appreciative Inquiry into Community Theatre processes aimed at HIV and AIDS education will enhance young people’s agency as active participant
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Books on the topic "Theatre of oppressed"

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Duffy, Peter, and Elinor Vettraino, eds. Youth and Theatre of the Oppressed. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105966.

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1971-, Duffy Peter, and Vettraino Elinor, eds. Youth and theatre of the oppressed. Palgrave Macmillan, 2010.

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1971-, Duffy Peter, and Vettraino Elinor, eds. Youth and theatre of the oppressed. Palgrave Macmillan, 2010.

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Duffy, Peter. Youth and theatre of the oppressed. Palgrave Macmillan, 2010.

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Boal, Augusto. Documents of the theatre of the oppressed. 2nd ed. Red Letters, 1987.

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Howe, Kelly, Julian Boal, and José Soeiro, eds. The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704.

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Anthony, Hozier, ed. Augusto Boal: Documents on the theatre of the oppressed. 2nd ed. Red Letters, 1987.

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Iyer, Jaya. Healing through dialogue: Theatre of the oppressed and beyond. Women in Security, Conflict Management and Peace, Foundation for Universal Responsibility of His Holiness the Dalai Lama, 2006.

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Peter, Harrop, ed. Techniques of the theatre of the oppressed: A user's directory. Powerhouse 1Showcase Theatre, University College Bretton Hall, Smyth Street, Wakefield, WF1 1ED, W. Yorks., 1996.

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Ganguly, Sanjoy. Jana Sanskriti, forum theatre and democracy in India. Routledge, 2010.

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Book chapters on the topic "Theatre of oppressed"

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Ganguly, Sanjoy. "Theatre of The oppressed, Not Theatre for The Oppressed." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-29.

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Babbage, Frances. "Theatre of the Oppressed." In Augusto Boal. Routledge, 2018. http://dx.doi.org/10.4324/9780429485671-2.

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Boal, Augusto, and M. O. Leal McBride. "Theatre of the oppressed." In The Applied Theatre Reader. Routledge, 2020. http://dx.doi.org/10.4324/9780429355363-26.

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Figueira, Jorge Louraço. "Epic Theatre and Theatre of the Oppressed." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-6.

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Boal, Julian. "Theatre of the Oppressed and Epic Theatre." In Theatre of the Oppressed and its Times. Routledge, 2023. http://dx.doi.org/10.4324/9781003325048-5.

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Rubin, Katy. "Theatre of the Oppressed Nyc." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-48.

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Speranza, Sabrina. "Newspaper Theatre." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-16.

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Santiago-Jirau, Alexander, and S. Leigh Thompson. "Image Theatre." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-17.

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Bôas, Rafael Villas. "Invisible Theatre." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-18.

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Barbosa, Inês, Vanesa Camarda, and Paul Dwyer. "Forum Theatre." In The Routledge Companion to Theatre of the Oppressed. Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-19.

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Conference papers on the topic "Theatre of oppressed"

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Latulipe, Celine, Sarah Provencal, and Tonya Frevert. "Challenging Social Exclusion in Computing via 'Theatre of the Oppressed' Pedagogy." In SIGCSE '20: The 51st ACM Technical Symposium on Computer Science Education. ACM, 2020. http://dx.doi.org/10.1145/3328778.3367008.

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Hadzantonis, Michael. "Karangiozis in the Shadows: A Linguistic Anthropology of Greece's Shadow Puppetry." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.1-4.

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The Karangiozi theatre play has existed for centuries in its various forms and across territories. Initially emanating from the Ottoman regions, it entered Greece several centuries prior, and was popularized during Ottoman occupation of Greece. Structured on a system of multilayered symbolisms, the visuals, performances and narratives in Karangiozi present the lead character, Karangiozi, a poor and benevolent man who is frequently oppressed and beaten for his misdoings. The character must contend with the arrogance and comical approaches of other characters, and must support his family, all wh
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Macchia, Teresa, Vincenzo D'Andrea, Roberto Mazzini, Angela Di Fiore, and Michela Cozza. "Exploring theater of the oppressed for participatory design." In PDC '16: The 14th Participatory Design Conference. ACM, 2016. http://dx.doi.org/10.1145/2948076.2948105.

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Dellinger, LaNette. "Transformation Through the Arts: Theater of the Oppressed With Internally Displaced Young Adults in Myanmar." In 2021 AERA Annual Meeting. AERA, 2021. http://dx.doi.org/10.3102/1692018.

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Westbrooks, Lisa. "Revealing Haints: Utilizing the Black Storytelling Tradition Casting Them Out With Theater of the Oppressed." In 2023 AERA Annual Meeting. AERA, 2023. http://dx.doi.org/10.3102/2016090.

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Westbrooks, Lisa. "Revealing Haints: Utilizing the Black Storytelling Tradition Casting Them Out With Theater of the Oppressed." In AERA 2023. AERA, 2023. http://dx.doi.org/10.3102/ip.23.2016090.

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Reports on the topic "Theatre of oppressed"

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Vishwanath, Arundathi. Theatre and Art in Education for Young Women with a Focus on Theatre of the Oppressed Techniques and Embodied Therapeutic Practices. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0105.2023.

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This project unfolded in Nanahar village in the Kangra district of Himachal Pradesh. The main objectives of this project were to spark critical thought and action amongst the participants of the programme, facilitate a process to reclaim one’s agency, equip the participants with theatre facilitation skills and equip the organisation with a theatre and art in education curriculum. The project timeline was September 2021–October 2022. A pilot workshop was initially conducted with 24 women enrolled in a skill development course, and consequently a longer 16-week workshop series was conducted for
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