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Journal articles on the topic 'Theatre of oppressed'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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 "Theatre of the Oppressed" (TO), which encourages critical observation and portrayal of reality while imagining the creation of consciousness and practical acts. Augusto Boal aimed to change the "monologue" of a conventional performance into a "dialogue" 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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9

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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10

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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11

Gursel-Bilgin, Gulistan. "Theatre of the Oppressed for Critical Peace Education Practice: Difficult Dialogues in the Turkish University Classroom." Forum Modernes Theater 33, no. 1-2 (2022): 54–69. http://dx.doi.org/10.24053/fmth-2022-0005.

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This article emphasizes the urgent need for critical peace education practice in Turkish educational settings. The traditional teacher-centred pedagogies dominant in Turkish higher education make it difficult to employ critical pedagogies in ways relevant to students. This study proposes Theatre of the Oppressed as an invaluable instrument and medium to effectively employ critical peace education and investigates different sociological perspectives of societies, cultures and institutions. Towards this end, I first explain that educating for peace has to be a critical initiative due to its inhe

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12

Paterson, Doug. "Street Theatre East of Eden: The 10th International Street Theatre Festival in Mariwan, Iran." TDR/The Drama Review 62, no. 1 (2018): 182–90. http://dx.doi.org/10.1162/dram_a_00731.

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13

Abidi, Shuby. "Women, Religion and Censorship in Shahid Nadeem's Dekh Tamasha Chalta Ban." Urdu Studies 4, no. 4 (2022): 101–13. https://doi.org/10.5281/zenodo.7621103.

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Dekh Tamasha Chalta Ban is a subversive and revolutionary Urdu play written to effect a change in consciousness. It is definitely a consciousness –raising play. In keeping with the spirit of Parallel Resistance theatre and as Ajoka’s sensitive black comedy, this play dismantles the oppressor/oppressed paradigm and satirizes the mullah community, the abuse of Blasphemy laws in Pakistan and the senseless religious persecution of innocent minorities.

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14

Fox, Hannah. "Playback Theatre: Inciting Dialogue and Building Community through Personal Story." TDR/The Drama Review 51, no. 4 (2007): 89–105. http://dx.doi.org/10.1162/dram.2007.51.4.89.

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The Playback Theatre method is humble: trained performers act out life stories volunteered by audience members. Playback Theatre's goal is to illuminate social problems and resolve them. Like Boal's Theatre of the Oppressed, Playback Theatre strives to give voice and visibility to those overlooked and ignored.

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15

Schechner, Richard, and Sudipto Chatterjee. "Augusto Boal, City Councillor: Legislative Theatre and the Chamber in the Streets." TDR/The Drama Review 42, no. 4 (1998): 75–90. http://dx.doi.org/10.1162/105420498760308364.

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16

Dwyer, Paul. "Augusto Boal and the Woman in Lima: a Poetic Encounter." New Theatre Quarterly 20, no. 2 (2004): 155–63. http://dx.doi.org/10.1017/s0266464x04000053.

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Twenty-five years after the landmark publication of Theatre of the Oppressed, there is no denying the continuing influence of Augusto Boal on theatre practitioners, community workers, and political activists worldwide. To judge by the number of recent publications by or about Boal (including five best-selling books from Routledge in little more than a decade), the ‘Boal Boom’ shows no evidence of decline. There is also, however, an emerging culture of critique around various aspects of the theory and practice of Theatre of the Oppressed; and in the following article, Paul Dwyer argues that a r

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17

Subedi, Imona, and Pathiyil Ravi Shankar. "Experiences of a theatre of the oppressed workshop." Janaki Medical College Journal of Medical Science 5, no. 2 (2018): 41–45. http://dx.doi.org/10.3126/jmcjms.v5i2.19016.

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Theatre of the Oppressed (TO) created by the Brazilian theatre personality, Augusto Boal helps individuals deal with both external and internal sources of oppression. TO workshops are now held in many educational institutions and other settings. TO enables participants to step beyond the walls of the classroom, explore various life situations, improves the skill of both verbal and non-verbal communication, enables participants to experience various oppressors and oppressed situations and formulate strategies to deal with them. The authors describe a three day TO workshop conducted at KIST Medi

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18

Tolomelli, Alessandro. "Theatre of the oppressed: linking research, political commitment and pedagogical perspectives." Revista Internacional Interdisciplinar INTERthesis 13, no. 3 (2016): 43. http://dx.doi.org/10.5007/1807-1384.2016v13n3p43.

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http://dx.doi.org/10.5007/1807-1384.2016v13n3p43The intellectual path of Augusto Boal ran parallel with his own life. “A path made by walking”, we can say using Machado’s words. In my personal experience, working as an educator I discovered the necessity of a pedagogical framework to sustain the practice; thinking as educationalist I realized the importance of the political meanings of education; acting as a Theatre of the Oppressed professional I understood the importance of keeping links between theory and praxis, personal and academic research. To summarize, in this paper I try to connect s

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19

Paterson, Doug. "Three Stories from the Trenches: The Theatre of the Oppressed in the Midst of War." TDR/The Drama Review 52, no. 1 (2008): 110–17. http://dx.doi.org/10.1162/dram.2008.52.1.110.

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From Israel, Liberia, and Iraq, where conflict and war are the rule, come stories about performances and workshops in the tradition of Augusto Boal's Theatre of the Oppressed. The author found both strengths and limitations in Forum Theatre.

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20

Baer, Pamela, Jenny Salisbury, and Tara Goldstein. "Pairing Verbatim Theatre and Theatre of the Oppressed to Provoke Startling Empathy." Educational Forum 83, no. 4 (2019): 418–31. http://dx.doi.org/10.1080/00131725.2019.1626961.

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21

Liang, Shen. "Performing Dream or Reality: The Dilemma of Chinese Community-Based Theatre." TDR/The Drama Review 58, no. 1 (2014): 16–23. http://dx.doi.org/10.1162/dram_a_00325.

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In recent years, teachers and students at Shanghai Theatre Academy did several community-based theatre projects among the migrant workers and their families who came from the Chinese countryside. When we applied Augusto Boal's techniques of Theatre of the Oppressed, we found that many community members prefer performing their dreams to performing their unpleasant reality.

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22

Howe, Kelly. "“Nor are we just passing through”: Muriel Naessens, Political Consistency, and Feminist Theatre of the Oppressed." Theatre Survey 57, no. 3 (2016): 436–40. http://dx.doi.org/10.1017/s0040557416000466.

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We must be as clear as possible about what we are defending. We are not, in fact, neutral, nor are we just passing through.—Muriel NaessensMuriel Naessens, feminist militant and Theatre of the Oppressed practitioner, died in France in February 2016, at the age of 67. After training with Theatre of the Oppressed founder Augusto Boal in his early days in France, Naessens founded the organization Féminisme-Enjeux, which “acts to prevent the oppression of women.” A feminist activist for over forty years, Naessens used Theatre of the Oppressed (TO) as one of her primary methods. She was a longtime

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23

Singh, Satendra, Jagjit Khosla, and Shobhana Sridhar. "Exploring medical humanities through theatre of the oppressed." Indian Journal of Psychiatry 54, no. 3 (2012): 296. http://dx.doi.org/10.4103/0019-5545.102461.

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24

Sullivan, John, Sharon Petronella, Edward Brooks, Maria Murillo, Loree Primeau, and Jonathan Ward. "Theatre of the Oppressed and Environmental Justice Communities." Journal of Health Psychology 13, no. 2 (2008): 166–79. http://dx.doi.org/10.1177/1359105307086710.

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25

Otty, Nick. "Theatre of the Oppressed: Cultural Action for Freedom." Contemporary Theatre Review 3, no. 1 (1995): 87–100. http://dx.doi.org/10.1080/10486809508568329.

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26

Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.

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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, K

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27

Fox, Hannah, and Abigail Leeder. "Combining Theatre of the Oppressed, Playback Theatre, and Autobiographical Theatre for Social Action in Higher Education." Theatre Topics 28, no. 2 (2018): 101–11. http://dx.doi.org/10.1353/tt.2018.0019.

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28

Van Bewer, Vanessa, Roberta L. Woodgate, Donna Martin, and Frank Deer. "Exploring Theatre of the Oppressed and Forum Theatre as pedagogies in nursing education." Nurse Education Today 103 (August 2021): 104940. http://dx.doi.org/10.1016/j.nedt.2021.104940.

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29

Debsarma, Anirban, and Sreemoyee Sarkar. "Pandemic, theatre and performance: Democratizing the subalterns through the Theatre of the Oppressed." Applied Theatre Research 11, no. 2 (2023): 175–86. http://dx.doi.org/10.1386/atr_00083_1.

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The presented work analyses Theatre of the Oppressed (TO) methods impacting the pandemic. It follows the WHO timeline, when the COVID-19 pandemic had cast a dark shadow, making sustenance difficult for the marginalized section of Indian society. TO methods, though reflected, adapted and accommodated exhaustively in Indian applied theatre over the last four decades, offered a fresh, collective, democratic space during the pandemic. Forum theatre (FT) and legislative theatre (LT) praxis rendered a platform for activism, awareness and emancipation of the ‘subalterns’ during the pandemic. Thus, TO

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30

Ghoshal, Shubhra, and Nirban Manna. "Dialogue for Empowerment: Jana Sanskriti’s Experiment with the Method of the Theatre of the Oppressed in Rural Bengal." New Theatre Quarterly 36, no. 2 (2020): 117–30. http://dx.doi.org/10.1017/s0266464x20000226.

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Since the 1970s, belief in the importance of participatory empowerment has been constantly asserted through various mass-inclusive developmental strategies. The growing interest in theatre for generating socio-political capacity-building among people gave rise to the Theatre of the Oppressed, conceptualized and developed by Augusto Boal. This article provides a brief outline of the modus operandi of Boal’s practice, and focuses on investigating the theoretical and practical methodology of Jana Sanskriti, the West Bengal group of practitioners of Theatre of the Oppressed. The article investigat

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31

Quinlan, Elizabeth, Susan Robertson, Ann-Marie Urban, Isobel M. Findlay, and Beth Bilson. "Ameliorating Workplace Harassment among Direct Caregivers in Canada’s Healthcare System: A Theatre-Based Intervention." Work, Employment and Society 34, no. 4 (2019): 626–43. http://dx.doi.org/10.1177/0950017019867279.

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The article reports on a theatre-based intervention designed to address workplace harassment among direct caregivers in Canada. The study is part of a larger analytical project that relies on labour process theory and critical realist evaluation methodology to understand what interventions work, how, for whom, and under what circumstances. Using Theatre of the Oppressed techniques, the reported intervention addresses workplace harassment by challenging the normative codes governing social interactions in participants’ workplaces. The study’s analysis indicates that the intervention’s Theatre o

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32

Warren, Linds. "Theatre Of The Oppressed: Developing A Pedagogy Of Solidarity?" Theatre Research in Canada 19, no. 2 (1998): 177–92. http://dx.doi.org/10.3138/tric.19.2.177.

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33

Shawyer, Susanne. "Activist Awareness in the Theatre of the Oppressed Classroom." Canadian Theatre Review 147 (July 2011): 12–17. http://dx.doi.org/10.3138/ctr.147.12.

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34

Alrutz, Megan. "Youth and Theatre of the Oppressed (review)." Theatre Journal 63, no. 3 (2011): 485–86. http://dx.doi.org/10.1353/tj.2011.0101.

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35

Boal, Augusto. "The arsenal of theatre of the oppressed: An extract." Women: A Cultural Review 5, no. 2 (1994): 171–74. http://dx.doi.org/10.1080/09574049408578196.

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36

Shawyer, Susanne. "Activist Awareness in the Theatre of the Oppressed Classroom." Canadian Theatre Review 147, no. 1 (2011): 12–17. http://dx.doi.org/10.1353/ctr.2011.0050.

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37

Saldaña, Johnny. "Theatre of the Oppressed with Children: A Field Experiment." Youth Theatre Journal 19, no. 1 (2005): 117–33. http://dx.doi.org/10.1080/08929092.2005.10012580.

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38

DOLZHENKOVA, Marina Igorevna, Olga Alekseyevna DOROZHKINA, Larisa Aleksandrovna ROMANINA, and Oksana Germanovna PROKHOROVA. "THEATRE THERAPY TECHNOLOGY IN MODERN SOCIAL REHABILITATION." Tambov University Review. Series: Humanities, no. 177 (2018): 59–69. http://dx.doi.org/10.20310/1810-0201-2018-23-177-59-69.

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The technologies of theatre therapy in modern social rehabilitation are presented, the components of the pair of theatre system are revealed: game therapy; hospital clownery; psychodrama; psychomelodrama; satidrama; figurative psychodrama; pesso-therapy; psychogymnastics; “theatre of the oppressed”; forum theatre; “political theatre”; invisible theatre; theatre of memories; playback theatre; theatre of homeless artists or other unprotected categories; theatre of sports. It is noted that theatre therapy is extremely important for the social rehabilitation of children. We discuss some of the mos

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39

Crowder, Eleanor. "Manitoulin Island: Lessons from the Rainbow Circle." Canadian Theatre Review 74 (March 1993): 51–53. http://dx.doi.org/10.3138/ctr.74.011.

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August, Wikemikong unceded territory, Manitoulin Island: Augusto Boal leads a ten-day workshop – the Rainbow Circle. Mixed Company hosts popular theatre workers from across the country. The native community hosts Mixed Company hosting popular theatre workers... great expectations: a world-famous director. A chance to work together as Canadians to address the issues raised by the constitutional debate. An invitation to work on native land with colleagues grounded in popular theatre techniques. An opportunity to debate the issues raised by working in Theatre of the Oppressed. A place to acknowle

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40

Gulkhara, Ahmadova, and Elza Farzaliyeva. "Theatre as a Reflection of Social Change: How Dramatic Arts Capture Cultural Shifts and Historical Transformations." Acta Globalis Humanitatis et Linguarum 2, no. 1 (2025): 254–61. https://doi.org/10.69760/aghel.02500133.

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Theatre has historically functioned as a reflection of society, encapsulating cultural changes, historical developments, and social turmoil. Theatre, from ancient Greek tragedies to modern digital performances, has mirrored political conflicts, economic hardships, and the perspectives of excluded groups. This study examines the evolution of theatre as a medium for social commentary, resistance, and education. It analyzes significant historical events, such as the Theatre of the Oppressed, revolutionary play, and postcolonial theatre, emphasizing their influence on political movements and cultu

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41

Barbosa, Inês, and Fernando Ilídio Ferreira. "Monsters, machines and popcorn: theatre of the oppressed and street protest." Comunicação e Sociedade 31 (June 29, 2017): 107–31. http://dx.doi.org/10.17231/comsoc.31(2017).2607.

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This article rises from the experience of the Theatre of the Oppressed Group from Braga in the context of the movements carried out in Portugal against austerity between 2012 and 2013. It presents some of the political and artistic interventions of the group, as well as a reflection on their impact and limitations. We intend to analyze the possibilities of the Theatre of the Oppressed (TO) to intervene, influence or enhance street protest and, at the same time, examine the extent to which this experience can articulate and question the two critical dimensions of capitalism, social and aestheti

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42

Usmiani, Renate. "The Theatre of the Oppressed /1: To Rehearse the Revolution." Canadian Theatre Review 47 (June 1986): 38–40. http://dx.doi.org/10.3138/ctr.47.004.

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May 1985, and every theatre space in Montreal has come vibrantly alive as the Festival of the Americas brings together companies, critics, and theatre-lovers from all over the world. One of the most intriguing offerings: a “Conférence-spectacle sur le Théâtre de l’Opprimé” given by Augusto Boal and his team. The large hall at the Maison de Culture du Plateau Mont-Royal, in the heart of east-end Montreal, is packed. The crowd has settled on large cushions on the floor and is chatting away in many different languages. On stage is the “set”: some screens in the back of the acting area, percussion

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43

Thibault, Laurence V. "Theatre of the Oppressed in French as a second language." Language and Intercultural Communication 20, no. 4 (2020): 312–24. http://dx.doi.org/10.1080/14708477.2020.1788048.

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44

Schutzman, Mady. "Activism, Therapy, or Nostalgia? Theatre of the Oppressed in NYC." TDR (1988-) 34, no. 3 (1990): 77. http://dx.doi.org/10.2307/1146071.

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45

Paterson, Douglas L. "A Role to Play for the Theatre of the Oppressed." TDR (1988-) 38, no. 3 (1994): 37. http://dx.doi.org/10.2307/1146378.

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46

Sanders, Michael. "Urban Odyssey: Theatre of the Oppressed and Talented Minority Youth." Journal for the Education of the Gifted 28, no. 2 (2004): 218–41. http://dx.doi.org/10.1177/016235320402800205.

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47

Enright, Robert. "The Theatre of the Oppressed / 2: To Dynamize the Audience." Canadian Theatre Review 47 (June 1986): 41–49. http://dx.doi.org/10.3138/ctr.47.005.

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The following is an edited transcript of an interview originally broadcast on the CBC Radio programme Stereo Morning In May 1985. It was conducted when Augusto Boal and his company were visiting Montreal to present a lecture and demonstration of Theatre of the Oppressed as part of the first Festival de théâtre des Amériques at that time. CTR thanks Anne Gibson, former executive producer of Stereo Morning, for access to the interview.

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48

Spry, Lib. "The Theatre of the Oppressed / 3: But Not in Canada?" Canadian Theatre Review 47 (June 1986): 50–55. http://dx.doi.org/10.3138/ctr.47.006.

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“Nobody thinks they are oppressed in North America,” my actor friend said, summing up his position on my work. “Now you better catch a cab home.” The conversation has stayed in my mind. He did not see the contrad iction between one statement and the other. I experience it. As I was in New York, it was late, and I was female, I had to navigate my way home carefully , picking my way street by street , so that I could avoid the block where the junkies hung out, the block - a schoolyard running blankly down one side - where a woman was raped last week, the block where last night a gang of boys whi

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49

Jordão, Ada. "Playwriting in Canadian Popular Theatre: Developing Plays with Actors and Ν on-actors". Canadian Theatre Review 115 (червень 2003): 62–65. http://dx.doi.org/10.3138/ctr.115.013.

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Playwriting in Canadian Popular Theatre“ is a sweeping title that immediately brings into question the term ”popular theatre“ and its elusive definition. I have to begin by agreeing with Raymond Williams that ”popular“ may be the most ”difficult term in cultural studies“ (Merkin). In this paper I do not seek a definition, but rather, to ”facilitate“ the term by discussing and documenting popular theatre creations that I have participated in as an actor and/or playwright and/or director. My subtitle, ”Developing Plays with Actors and Non-Actors,“ pays homage to the work of Augusto Boal, to his

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50

Nogueira, Marcia Pompeo, Reonaldo Manoel Gonçalves, and Tim Prentki. "Between popular traditions and forum theatre: Playing on the borders of Theatre of the Oppressed." Applied Theatre Research 2, no. 2 (2014): 183–95. http://dx.doi.org/10.1386/atr.2.2.183_1.

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