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Journal articles on the topic 'Theatre of the Oppressed'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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

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12

Dwyer, Paul. "Augusto Boal and the Woman in Lima: a Poetic Encounter." New Theatre Quarterly 20, no. 2 (April 21, 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 reflexive, critical approach to using Boal's techniques should begin with an acknowledgement that they are not based on a stable theoretical foundation. Rather, the underlying principles, articulated by Boal in the many anecdotes that fill his books, lectures, and workshops, appear to have shifted over the years to become more closely aligned with the expectations of his audience. The theory of Theatre of the Oppressed should thus be seen as a co-creation for which the readers and propagators of Boal's work share a significant responsibility. Paul Dwyer is a lecturer in the Department of Performance Studies at the University of Sydney.

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13

Tolomelli, Alessandro. "Theatre of the oppressed: linking research, political commitment and pedagogical perspectives." Revista Internacional Interdisciplinar INTERthesis 13, no. 3 (September 1, 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 some points between pedagogy, politics and research using the method of the Theatre of the Oppressed as a framework. The first part described the reasons of my interest in the Pedagogy of the Oppressed (P. Freire) and then on the Theatre of the Oppressed (A. Boal). Later on, the focus is on the meaning of the words ‘theatre’ and ‘oppression’ to explain the aims and the roots of the Theatre of the Oppressed. At the end of the paper the project is presented: “TOgether”, a European research-action path aimed at constructing a curriculum for the Theatre of the Oppressed trainer as well as experimenting with the aesthetic potential of the method.Teatro do oprimido: pesquisa da ligação, compromisso político e perspectivas pedagógicasA trajetória intelectual de Augusto Boal correu em paralelo com sua própria vida. "Um caminho feito a pé", usando as palavras de Machado. Na minha experiência pessoal trabalhando como educador, eu descobri a necessidade de uma estrutura pedagógica para sustentar a prática. Pensando como educador, eu percebi a importância do significado político da educação. Agindo como um profissional do Teatro do Oprimido, eu compreendi a importância de manter ligações entre teoria e prática, a vida pessoal e a pesquisa acadêmica. Para resumir, neste artigo eu tento conectar alguns pontos entre a pedagogia, política e pesquisa utilizando o método do Teatro do Oprimido como estrutura. Na primeira parte descrevi as razões de meu interesse na Pedagogia do Oprimido (Paulo Freire), e em seguida, no Teatro do Oprimido (Augusto Boal). Posteriormente, o foco é no significado das palavras "teatro" e "opressão" para explicar os objetivos e as raízes do Teatro do Oprimido. No final do artigo o projeto "TOgether" é apresentado: a trajetória de uma pesquisa-ação europeia destinada à construção de um currículo para o formador do Teatro do Oprimido, bem como experiências com o potencial estético do método.

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14

Baer, Pamela, Jenny Salisbury, and Tara Goldstein. "Pairing Verbatim Theatre and Theatre of the Oppressed to Provoke Startling Empathy." Educational Forum 83, no. 4 (September 3, 2019): 418–31. http://dx.doi.org/10.1080/00131725.2019.1626961.

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15

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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16

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 (March 2008): 166–79. http://dx.doi.org/10.1177/1359105307086710.

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17

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

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18

Paterson, Doug. "Three Stories from the Trenches: The Theatre of the Oppressed in the Midst of War." TDR/The Drama Review 52, no. 1 (March 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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19

Howe, Kelly. "“Nor are we just passing through”: Muriel Naessens, Political Consistency, and Feminist Theatre of the Oppressed." Theatre Survey 57, no. 3 (August 10, 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 activist with the French Family Planning Movement (MFPF), in many ways the French equivalent of the US organization Planned Parenthood. “As a member of Augusto's TO group in Paris and at the same time a militant in the Family Planning Organization,” wrote Naessens in 2006, “I was able to develop the use of TO on a regular but punctual basis within the MFPF, where it quickly found its rightful place on a national level.”

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20

Liang, Shen. "Performing Dream or Reality: The Dilemma of Chinese Community-Based Theatre." TDR/The Drama Review 58, no. 1 (March 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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21

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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22

Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (February 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, Kohtes develops a hypothesis to explain the visibility of ‘Invisible Theatre’ at specific historic moments – and in so doing he hopes also to illuminate for a wider audience some of the ideas and research methods of German Theaterwissenschaft. Martin Maria Kohtes, who presently lives and works in Berlin and Cologne, studied Theatre Arts at the Freie Universität Berlin, at Rutgers University in New Jersey, and at the Université de la Sorbonne Nouvelle in Paris. His study of Guerilla Theater: Theorie und Praxis des amerikanischen Strassentheaters was published by Gunter Narr Verlag, Tübingen, in 1990.

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23

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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24

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

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25

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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26

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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27

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

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28

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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29

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

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30

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 (September 12, 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 of the Oppressed activities energized the participating caregivers to imagine, enact and collectively assess new social interactions. The caregivers developed strategies to resist the oppressive relations of their employment and became competent contesters of dominant discourses circulating in their workplaces. The solidarity developed through the bodily sculptures and enacted scenarios elicited participants’ deliberative exchange about workplace harassment and awakened a collective will to carry their revelations back to their workplaces.

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31

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 (May 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 investigates the dialogical relationship between actors and audience in the three phases of the group’s theatre-making process: pre-performance; during the performance; and after it. It proposes an illustrative model of Jana Sanskriti’s dialogical approach towards experiencing a developmental surge in society. Shubhra Ghoshal is a research scholar at the Department of Humanities and Social Sciences at the Indian Institute of Technology (Indian School of Mines) in Dhanbad, India. Nirban Manna is an Assistant Professor at the Department of Humanities and Social Sciences, Indian Institute of Technology (Indian School of Mines) in Dhanbad.

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32

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 most outstanding achievements of the experimental technology theatre therapy in different countries: USA (project “Invisible People”); Greece; Russia (Project “Invizibl people” or “People Invisible”; All-Russian Festival of Special Theatres “ProTeatr”; project “Ariadne's Thread”; project “Touch-Ables”; “Theatre of Open-Hearted”; “ARTель inspiration”; “NeFoрмат”; “Speak Freely” (L.V. Soloveva)). It is indicated that by means of theatre therapy there is an improvement of skills of conscious action in the conditions of dramatic work, processes of self-knowledge in the context of development of emotional-strong-willed and intellectual-cognitive spheres of the personality are stimulated. The implementation of art therapy technologies in the modern practice of social rehabilitation is extremely relevant and in demand. That is why so important theoretical and methodological justification of formation and promising directions of development of these technologies, as well as creating the appropriate database information and methodological support that takes into account the latest advances in medical and psycho-pedagogical branches of scientific knowledge. Also important specialized programs for retraining and advanced training of social workers, taking into account innovative developments in the field of social rehabilitation, including technologies of theatre therapy.

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33

Thibault, Laurence V. "Theatre of the Oppressed in French as a second language." Language and Intercultural Communication 20, no. 4 (July 3, 2020): 312–24. http://dx.doi.org/10.1080/14708477.2020.1788048.

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34

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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35

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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36

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

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37

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 aesthetics, enunciated by Boltanski and Chiapello in their work O novo espírito do capitalismo [The new spirit of capitalism]. This article is part of an interventionist and participatory research perspective, that seeks to conceive and frame the TO as a collective action and critical education tool, within the context of contemporary social mobilizations.

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38

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 (July 1, 2014): 183–95. http://dx.doi.org/10.1386/atr.2.2.183_1.

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39

Mills, Sandra. "Theatre for transformation and empowerment: a case study of Jana Sanskriti Theatre of the Oppressed." Development in Practice 19, no. 4-5 (June 2009): 550–59. http://dx.doi.org/10.1080/09614520902866348.

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40

LEE, YONGHEE. "Theatre for the Less Oppressed than I: Reconsidering Augusto Boal's Concept of Spect-actor." Theatre Research International 40, no. 2 (June 2, 2015): 156–69. http://dx.doi.org/10.1017/s0307883315000036.

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Grounded on personal experience in Augusto Boal's workshop, this article explores his essential and radical concept of the spect-actor and its limitation. When he conceptualized the term, Boal seemed to ignore diversities and differences of subject in the grid of power relations such as class, gender, ethnicity, sexual preference and race. Furthermore, a silence that most of the workshop participants maintained needs to be examined critically, instead of unquestioningly, regarding their ‘democratic’ choices. In order to effectively discuss the limitations of the spect-actor concept, as well as the silence that was ignored in the workshop space, I speculate on similar relationships that occurr both in theatre workshop and classroom settings. Drawing the conclusion that both educators and theatre practitioners require self-reflexive attitudes, I expect a greater contribution of Theatre of the Oppressed to globalized societies.

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41

Denzin, Norman K. "Performing Critical Pedagogy in a Politicized Public Sphere." Qualitative Inquiry 26, no. 2 (October 14, 2019): 238–41. http://dx.doi.org/10.1177/1077800419879082.

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Here, I outline a performative approach to the politicized public sphere specifically drawing on Moises Kaufman’s Laramie Project,1 Saldaña’s call for a critical ethnotheatre that engages key moments in a culture’s history, and Augusto Boal’s Theatre of the Oppressed.

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42

Cumura, Ljiljana, Evelina Barbanti, and Laura Trevisan. "The Use of Social Theatre along the Mediterranean." WELFARE E ERGONOMIA, no. 2 (February 2022): 117–32. http://dx.doi.org/10.3280/we2021-002009.

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The challenge of this article is to explore the role of Theatre for Social Change (TfSC). Clearly, it is a very complex field of research. It is not one form of theatre but "a set of interdisciplinary and hybrid practices". It spans the participatory and professional arts sectors and the fields of arts and activism. Unlike other kinds of theatre, TfSC is a performance ensemble to raise awareness about the impact of social issues through the community engagement process. The article seeks to investigate connections between social theatre, social wellbeing and health. Few paragraphs are dedicated to the actual epidemic situation, social distance, mental health, self-care and new relations among people. Besides the work of Paulo Freire (Theatre of Oppressed), Augusto Boal (Forum Theatre), Dorothy Heathcote (Drama in Education), Theatre for Living etc. authors will present several projects and successful stories along Mediterranean, with focus on Italy, Spain and Malta.

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Goyal, Manoj, and Monika Bansal. "Shifting to Critical Medical Humanities With the Theatre of the Oppressed." Academic Medicine 96, no. 8 (July 27, 2021): 1076. http://dx.doi.org/10.1097/acm.0000000000003983.

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Belliappa, Jyothsna Latha. "Extending feminist pedagogy in conferences: inspiration from Theatre of the Oppressed." Gender and Education 32, no. 1 (October 22, 2019): 101–14. http://dx.doi.org/10.1080/09540253.2019.1646412.

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Kina, Victoria Jupp, and Kelly Cristina Fernandes. "Augusto Boal's Theatre of the oppressed: democratising art for social transformation." Critical and Radical Social Work 5, no. 2 (August 14, 2017): 241–52. http://dx.doi.org/10.1332/204986017x14951776937239.

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Songe-Møller, Anna S., Karin Brunvathne Bjerkestrand, and Gunhild Brænne Bjørnstad. "The responsible citizen: An investigation of the Theatre of the Oppressed." Applied Theatre Research 6, no. 2 (November 1, 2018): 139–53. http://dx.doi.org/10.1386/atr.6.2.139_1.

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ILTER, SEDA. "Introduction." Theatre Research International 44, no. 3 (October 2019): 291–95. http://dx.doi.org/10.1017/s0307883319000506.

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The sociopolitical turbulence in the recent history of Turkey has radically affected the theatre and performance scene. In a climate of fear and repression, performing arts have been fighting for survival and developing ways to endure the dark times, to achieve freedom of artistic expression and open platforms for critical communication. This collection of articles considers contemporary theatre and performance in Turkey, reflecting on some of the complex issues that practitioners, academics and institutions have faced in the current political environment. Each author presents a part of the complex picture of theatre and performance culture in Turkey, and hopes to start a conversation about this oppressed, yet fertile, artistic landscape.

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Singh, Satendra, Juhi Kalra, Sanjoy Das, Purnima Barua, Navjeevan Singh, and Upreet Dhaliwal. "Transformational learning for health professionals through a Theatre of the Oppressed workshop." Medical Humanities 46, no. 4 (October 13, 2019): 411–16. http://dx.doi.org/10.1136/medhum-2019-011718.

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Theatre of the Oppressed (TO) is a powerful participatory tool for communities to examine their struggles against oppression. The healthcare community has problems inherent to complex, unequal power equations, and TO may be a useful means to understand and respond to their struggle. A 3-day workshop on TO was facilitated by the authors in the Himalayan Institute of Medical Sciences (HIMS) in Dehradun, India, in August 2017. The workshop culminated in the ‘Forum Theatre’, which included five short plays, each depicting a struggle due to real-life oppression faced by one or the other participant. The audience (about 200 invited members of the HIMS community) chose one play depending on the struggle with which they identified most. That play was ‘forumed’: spectators were invited to replace the struggling person and demonstrate how they would handle the oppression. Over the next week, participants reflected on the workshop through a structured online questionnaire. The feedback (n=16/27 participants; response rate 59.3%) was subjected to descriptive statistics and to qualitative analysis. The highest average Likert score (out of a maximum of 5) was given to the following items: TO engages senses and emotions (4.6±0.50), can help inculcate ethical behaviour (4.4±0.81), identifies conflict (4.4±0.51), and resolves issues of attitude, behaviour, communication, diversity and empathy (4.4±0.73). The Forum Theatre was reported to be a means to “express emotions and opinions and to simultaneously gather the same from others”; “make people push their own limits”; “bring out social problems in public”; “examine the root causes behind lived experience”; “provide context for understanding and for exploring alternatives”; and “convert thoughts to action.” In conclusion, TO is an engaging activity that identifies conflict; participants’ initial reactions suggest that it may initiate change in the ABCDE attributes (attitude, behaviour, communication, diversity, ethics and empathy) of medical professionals.

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Smith, Ron. "Magical Realism and Theatre of the Oppressed in Taiwan: Rectifying Unbalanced Realities with Chung Chiao's Assignment Theatre." Asian Theatre Journal 22, no. 1 (2005): 107–21. http://dx.doi.org/10.1353/atj.2005.0013.

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Duşe, Carmen Sonia, and Dan Maniu Duse. "Brief consideration on the use of the theatre of oppressed in anti-bullying activities in schools." MATEC Web of Conferences 343 (2021): 11015. http://dx.doi.org/10.1051/matecconf/202134311015.

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The problem of bullying is of great importance in education, due to the severity of its consequences. The paper aims to present some ideas about how theatre, as an art form, can be used in the fight against bullying in education. In this context, the use of the theatre concept of the oppressed as a tool to combat bullying behaviours can be more successful, as the act of denouncing oppression through actions, mimicry and gestures, through the tones of voice, leads to the setting of benchmarks. between the participating students / children and the educational community. Starting from the idea presented by the Brazilian writer and activist Augusto Bool, in turn influenced by the Brazilian pedagogue Paulo Freire, we aim to stop the phenomenon of bullying by introducing different theatre sequences in which children get involved, identify, analyse and explore, so as the spectators ask them to do, and in the end, in this way, it transforms the reality in which they live.

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