Relevant bibliographies by topics / Theatre of the Oppressed

Contents

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

Academic literature on the topic 'Theatre of the Oppressed'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Theatre of the Oppressed"

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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 (November 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 (October 19, 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 achieve a good debate than a good solution’, in Alternative the organizers emphasized the end-product to the detriment of the process, envisioning ‘oppression’ as a static concept and the ‘oppressed’ as lacking agency. Ioana Szeman offers a sobering reminder that community theatre work sometimes may be more about the organizers' needs to find solutions than about the concerns of people in the community. In order to avoid that, she suggests that the oppressed need to be envisioned as people with agency, and local perspectives have to go hand in hand with concerns about larger power networks in a culturally sensitive application of the methods. The binary of the oppressed and oppressor becomes especially irrelevant, she argues, where totalitarianism, as in Romania, has left a legacy of nested hierarchies of power, and where a wider critique of systemic power is therefore necessary. Having gained her PhD in Performance Studies at Northwestern University with a dissertation on performance, marginality, ethnicity, and nationalism in Romania, Ioana Szeman has recently taken up a lecturing post at Roehampton University. She has also published in Theatre Research International.
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Dalaqua, Gustavo H. "Using Art to Resist Epistemic Injustice." Contention 8, no. 1 (June 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 psychological oppression by encouraging the oppressed to critically examine their desires and self-knowledge. Finally, legislative theatre furthers democratic freedom by allowing citizens to protest against any epistemic injustice that might result from the enactment of laws made by representatives.
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Warner, Lesley. "Theatre of the oppressed and homeless." Mental Health Practice 11, no. 8 (May 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 (July 2004): 217–33. http://dx.doi.org/10.1080/0363452042000265161.

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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 (March 25, 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 marginalised citizens to ‘take responsibility’ for their own lives. In this article, I examine a performance coordinated by a community theatre group that uses the ‘Theatre of the Oppressed’ format, intended to allow participants to identify ways to overthrow the forces that oppress them. I use a Foucauldian conception of power, subjectivity and resistance to critically examine the performance in its context. I explore ways in which the Theatre of the Oppressed format was applied (perhaps unintentionally) in such a way that it reinforced a vision of the situation as immutable and unchangeable, placing the onus on residents to transform their own actions to deliver change. Such framing makes any effort at resistance appear absurd, and is anything but empowering for residents.
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Paterson, Doug. "Street Theatre East of Eden: The 10th International Street Theatre Festival in Mariwan, Iran." TDR/The Drama Review 62, no. 1 (March 2018): 182–90. http://dx.doi.org/10.1162/dram_a_00731.

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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 (June 13, 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 inherently controversial and challenging nature. Theatre of the Oppressed is then explored in detail as an inspiring tool for the aspirations and challenges of critical peace education practice. Finally, an example from a Turkish university classroom is presented in order to illustrate the affordances and limitations of employing Theatre of the Oppressed in similar higher education contexts.
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Subedi, Imona, and Pathiyil Ravi Shankar. "Experiences of a theatre of the oppressed workshop." Janaki Medical College Journal of Medical Science 5, no. 2 (January 16, 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 Medical College, Lalitpur, Nepal from 6th to 8th April 2012. Janaki Medical College Journal of Medical Sciences (2017) Vol. 5(2): 41-45
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Fox, Hannah. "Playback Theatre: Inciting Dialogue and Building Community through Personal Story." TDR/The Drama Review 51, no. 4 (December 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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Dissertations / Theses on the topic "Theatre of the 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 experience is detailed and followed by the author’s conclusions and hopes for Theatre of the Oppressed in the Midwest.
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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 relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician. The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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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
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 processos históricos nos quais se inseriu. Os textos de Boal foram analisados como fontes historiográficas a partir do referencial materialista cultural. A partir dessa análise, a perspectiva de diálogo do TO, diferente do que apontavam os trabalhos analisados, revelou-se baseada em dois pilares: a Pedagogia do Oprimido e a maiêutica socrática. Essas duas referências são, então, investigadas para definir os limites entre as concepções originais e a interpretação de Boal. A última parte, a partir da análise de entrevistas, apresenta o pensamento sobre o diálogo dos curingas do Centro de Teatro do Oprimido (CTO). Conclui-se, então, que a perspectiva maiêutica, tal como utilizada por Boal e o CTO, impôs alguns limites para alcançarem-se os objetivos do TO, produzindo uma nova perspectiva dialógica. No entanto, percebe-se o interesse e o esforço do CTO na investigação e na construção de um TO cada vez mais dialógico, comprometido com suas origens, fiel ao pensamento de Boal, mas coerente às demandas atuais.
Theatre of the Oppressed (TO) is an aesthetic alphabetisation method, organized by Augusto Boal, which aims at promoting social change and humanization through dialog and aesthetic means. This work analyses dialogs place inside TO. The first part presents an analysis of some researches about TO, seeking to reveal how they place dialog inside TO. The second part analyse the work of Augusto Boal presenting the historical development of TO pedagogic dimension and reveals the influences of the historical process. Boal texts were analysed as historical documents in the perspective of Cultural Materialism. This analysis reveals that TO dialog perspective, on the opposite way of the analysed works, is based in two pillars: Pedagogy of the Oppressed and Socratic Method. These two perspectives are investigated in order to define the limits between theirs original conceptions and Boal own interpretation. The last part presents the Cento de Teatro do Oprimido (CTO) jokers thought about dialog inside TO, through the analyses of interviews. It then concludes that the Socratic perspective, as used by Boal and CTO, set some limits in order to reach their objectives, producing a new dialogical perspective. Nevertheless, CTO effort to investigate and build a ever more dialogical and faithful to its origins and Boal thoughts, as well as able to deal with the new demands of nowadays.
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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 thesis explores my TO practice in order to better understand the work, add knowledge to the field, and improve the practices themselves. Through phenomenological reflection and action learning, I explore what I bring to the work in order to facilitate the possibility for change in others, and what enhances or hinders that process. This research is located within three case studies: a project dealing with sexual abuse and violence with 13 Aboriginal young women; men in a domestic violence ‘perpetrator’ program; and a community youth Forum Theatre project focusing on respectful relationships. Three key elements emerged as essential for the practitioner in order to animate the dynamics of theatre as tool for engagement and dialogue: motivation, presence and reflection. Motivation is the foundation for perseverance, 4 commitment, patience and connection. Second, being present, or ‘presencing’, the generative act of allowing the story, the action, to emerge, supports the possibility for dialogue. Third, reflexivity is the key to learning; extracting what the learning is, applying it, and preparing for it by holding in tension the ‘unknown’ and moving towards ‘resolution/s’. Furthermore transformation is not something that can be prescribed for someone else, but rather is a trajectory where participant and practitioner can travel together; a journey in which ultimately both are affected. Finally, questions of engagement and of top-down driven, issue-based work arise that call for further investigation.
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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 character and personal attitude toward the prompt, as well as examining the effect of presence on students' performances. The study was performed with 38 8th grade students. Subjects debated a prompt which proposed a banning cell phones from classrooms. Results show that subjects collaboratively constructed solutions that compromised between both positions, while slightly favoring the anti- ban position. Results also show that subjects experienced gains in character identification after participating in the task regardless of assigned character, hinting at a separation between perceived similarity to characters and affinity for characters' position. The ability of subjects to defend their assigned character's position while inhabiting their own perspective, that of an 8th grade student, also hints at this separation. Additionally, results indicated correlations between subjects' control factors, a subset measure for presence, and total change in prompt agreement. Other positive correlation exist between subject's reprocessing attempts and task performance, as well as total presence and task performance.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Digital Media
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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 reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras.
This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.
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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 participants and agents of change in their communities beyond the didactic notions inherent in ABC education approaches to HIV prevention. This approach can encourage meaningful participation and critical consciousness amongst young people in the HIV prevention response.
Dissertation (MA (Drama))--University of Pretoria, 2011.
Drama
unrestricted
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Books on the topic "Theatre of the Oppressed"

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

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Duffy, Peter. Youth and theatre of the oppressed. New York, NY: Palgrave Macmillan, 2010.

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

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

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

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Theater of the oppressed. London: Pluto, 2000.

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"Come closer": Critical perspectives on theatre of the oppressed. New York: Peter Lang, 2011.

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Jana Sanskriti, forum theatre and democracy in India. New York, NY: Routledge, 2010.

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Ganguly, Sanjoy. Jana Sanskriti, forum theatre and democracy in India. New York, NY: Routledge, 2010.

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Howard, Leigh Anne. Boal and theatre of the oppressed: A performance-centred inquiry of eating and body image. Ann Arbor, Mich: UMI Dissertation Services, 1997.

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Book chapters on the topic "Theatre of the 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, 270–76. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-29.

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Babbage, Frances. "Theatre of the Oppressed." In Augusto Boal, 35–65. Abingdon, Oxon ; New York, NY : Routledge, [2018] | Series: Routledge performance practitioners | "First published 2004; reissued 2018 by Routledge..."—ECIP galley.: 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, 134–40. Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: 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, 51–57. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-6.

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Rubin, Katy. "Theatre of the Oppressed Nyc." In The Routledge Companion to Theatre of the Oppressed, 414–19. Abingdon, Oxon ; New York : Routledge, 2019.: 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, 150–55. Abingdon, Oxon ; New York : Routledge, 2019.: 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, 156–61. Abingdon, Oxon ; New York : Routledge, 2019.: 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, 162–67. Abingdon, Oxon ; New York : Routledge, 2019.: 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, 168–79. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-19.

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Soeiro, José. "Legislative Theatre." In The Routledge Companion to Theatre of the Oppressed, 187–94. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-21.

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Conference papers on the topic "Theatre of the 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. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3328778.3367008.

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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. New York, NY, USA: 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. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1692018.

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Alca, Deniz. "SECURITY OF OPPRESSED AT MEN’S WAR." In 24th International Academic Conference, Barcelona. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/iac.2016.024.003.

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Owen, Charles B., Alison Dobbins, and Lisa Rebenitsch. "Theatre Engine." In International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2536853.2536867.

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Chaudhari, S. T., S. Bodke, R. Chandsarkar, and T. Sule. "Virtual Theatre." In Third International Conference on Emerging Trends in Engineering and Technology (ICETET 2010). IEEE, 2010. http://dx.doi.org/10.1109/icetet.2010.127.

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Takahashi, Toru, Yasuhiro Katagiri, and Keiko Nakao. "TelMeA theatre." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965333.965382.

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Banno, Mariasole, Andrea Albertini, Ileana Bodini, Sandro Trento, and Valerio Villa. "Theatre teaches." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8098.

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Theatre teaches is a new experiment carried out at the University of Brescia. The growing importance of transversal competences i.e. those skills that essentially concern attitudes in the workplace and interpersonal relationships such as team work, language and communication skills, gave us the idea to develop an educational innovation to help students bring out these skills. We asked students to wrote a play using topics seen in class. So, they tried to wrap their mind around it and worked in team to write a script and get him to scene. Not to be confused to business theatre, this method is applicable in any framework. The assessment results reveal that students appreciate this method because this work helps them to express theirself better and, in general terms, they could improve their non techniocal skills. In conclusion, we can say that this experiment has been a success and gave the students the opportunity to show transversal competences. The ability to communicate, to teamworking, to manage conflicts, to speak in public, to problem solving, creativity, imagination, the ability to manage unforeseen situations and tolerate pressure and stress, leadership skills, negotiation skills and the ability to motivate are just few of the emergent competences.
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Geigel, Joe, and Marla Schweppe. "Virtual theatre." In ACM SIGGRAPH 2005 Educators program. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1187358.1187378.

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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Reports on the topic "Theatre of the Oppressed"

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Moor, Donald B. Iran: Theatre Security Cooperation Plan. Fort Belvoir, VA: Defense Technical Information Center, April 2008. http://dx.doi.org/10.21236/ada484358.

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McGregor, Udo K. Strategic Airlift: Supporting the Theatre Commander. Fort Belvoir, VA: Defense Technical Information Center, May 2003. http://dx.doi.org/10.21236/ada420292.

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Bhutada, Aditya. Universal Event and Motion Editor for Robots' Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.194.

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Ehrhart, David G. Foreign Command of US Forces in Combined Theatre Operations. Fort Belvoir, VA: Defense Technical Information Center, April 1994. http://dx.doi.org/10.21236/ada280733.

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Sunardi, Mathias. Expressive Motion Synthesis for Robot Actors in Robot Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.720.

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Pond, Robert. The history of community theatre in Anchorage, Alaska, 1946-1976. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2970.

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Ghosh, Yashowanto. Bertolt Brecht's Leben des Galilei: A Mythic Dimension in Epic Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6442.

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Ohlmeyer, Ernest J., Craig Phillips, David Hanger, Mark Jones, and Thomas R. Pepitone. Guidance Methods for Accurate In-Flight Alignment of Navy Theatre Wide Missiles. Fort Belvoir, VA: Defense Technical Information Center, May 2001. http://dx.doi.org/10.21236/ada385676.

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Cereghino, Albert. Italy 1830-1848: the role of the press and the theatre in the formation of the national spirit. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.935.

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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.

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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.
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