Augusto Boal

Augusto Boal (16 March 1931 - 2 May 2009) was aBrazilian theatre director, writer and politician. He wasthe founder of Theatre of theOppressed, a theatrical formoriginally used in radical popular education movements.Boal served one term as a Vereador (the Brazilian equiv-alent of a city councillor) in Rio de Janeiro from 1993 to1997, where he developed legislative theatre.[1]

1 Biography

1.1 Early lifeAugusto Boal studied at Columbia University in NewYork with the critic John Gassner. Gassner intro-duced Boal to the techniques of both Bertolt Brecht andConstantin Stanislavski, and encouraged Boal to formlinks with theatre groups like the Black ExperimentalTheatre. In 1955 Boal staged productions of two of hisown plays The Horse and the Saint and The House Acrossthe Street.[2] In 1956, shortly after graduating, Boal wasasked to workwith theArena Theatre in So Paulo, south-east Brazil.[3] Boal was in charge of directing plays alongwith other dramaturgs such as Jos Renato, who was alsothe founder of the Areana Theatre. It was here that hebegan to experiment with new forms of theatre never be-fore seen in Brazil, such as Stanislavskis 'system' for ac-tors, with which he became familiar during his time atColumbia and when involved with the Actors Studio inNew York. Boal adapted these methods to social con-ditions in Brazil, taking a leftist approach on issues con-cerning nationalism, which were very much in vogue atthat time period since the country had just undergone along period of military dictatorship.[4][5]

1.2 Work at the Arena Theatre of SoPaulo

While working at the Arena Theatre in So Paulo, Boaldirected a number of classical dramas, which he trans-formed to make them more pertinent to Brazilian societyand its economy. Among these plays was John Stein-beck's Of Mice and Men, known in Brazil as Ratos eHomens. This was Boals rst performance as a direc-tor at the Arena Theatre of So Paulo. Critics acclaimedthis piece and Boal won the Prmio de Revelao de Di-reo (Direction Revelation Award) from the Associationof Art Critics of So Paulo, in 1956. In the early sixties,the ratings at the Arena Theatre of So Paulo started to

drop, almost causing the theatre to go bankrupt. Con-sequently, the company decided to start investing in na-tional theatre (pieces written by Brazilian dramaturgs) asa move that could possibly save it from bankruptcy. Thenew investment proved to be a success, opening up thepath for a national theatre scene. Boal then suggested thecreation of a Seminar in Dramaturgy at the Arena The-atre, which was quickly implemented and soon becamea national platform for many young playwrights. Manysuccessful productions were born from this Seminar andnow form part of the Arena Theatre of So Paulos na-tionalist phase repertoire. One of these productions wasChapetuba Futebol Clube, written by Oduvaldo ViannaFilho in 1959 and directed by Augusto Boal.[6]

1.3 Exile

A new military regime started in Brazil in 1964 with acoup d'tat supported by the Brazilian elite, the industrial-ists, the military, as well as by the United States,[7] Boalsteachings were controversial, and as a cultural activist hewas seen as a threat by the Brazilian military regime. In1971, Boal was kidnapped o the street, arrested, tor-tured, and eventually exiled to Argentina,[8] where hestayed for ve years. During those ve years, Boal pub-lished two books: Torquemada (1971) and his much ac-claimed Theatre of the Oppressed (1973). Torquemadais about the Brazilian military regimes systematic use oftorture in prison.[9] Boal takes the name of the leadinggure of the Spanish Inquisition, Tomas de Torquemadaas an example of historical forms of systematic torture.In Theatre of the Oppressed Boal develops a theatricalmethod based on Pedagogy of the Oppressed, a book bythe Brazilian educator and writer Paulo Freire (who wasalso a good friend of Boal).[10]

Boals method (which has been implemented in variouscommunities around the world) seeks to transform au-diences into active participants in the theatrical expe-rience. Boal argues that traditional theatre is oppres-sive since spectators usually do not get a chance to ex-press themselves, and that a collaboration between bothparties, in contrast allows spectators to perform actionsthat are socially liberating. The method, as Boal likedto explain, seeks to transform spectators into spect-actors.[11] When the political climate in Brazil forcedBoal into exile in 1971, he initially went to Peru andthen Argentina, where he completed and published hisseminal theoretical work The Theatre of the Oppressedand consolidated his conscientizaacao (consciousness-

1

2 1 BIOGRAPHY

raising) theatre work based on the idea of Brazilian edu-cationalist Paulo Freire.[12] Freires methods were a revoltagainst the elitist top-down approach to education andhe advocated critical awareness based education models.Boals work in Peru with the ALFIN project, a movementwhich sought to use a range of languages including artis-tic languages to eradicate illiteracy, developed his ideasand methodology away from the agit-prop of his Brazil-ian Arena Theatre days and sought to engage theatre as apedagogical tool. Crucial to this time was Boals attemptsto break down the divisions between spectator and actor.It is around this time that invented the term spect-actor,a term that he saw as establishing the frameworks withinwhich he wished to work.[13] He saw that the passivityof the spectator could be broken down by the followingsteps by which the spectator becomes the spect-actor: 1)Knowing the body (by body he means both the individ-ual body and the collective body in a Marxist sense)2) Making the body expressive 3) Using theatre as a lan-guage 4) Using theatre as discourseAfter living in Argentina, Boal travelled to other coun-tries in South America such as Peru and Ecuador, wherehe worked with people in small and usually poor commu-nities that dealt with conicts such as civil wars and lackof government attention. Boal was of the opinion thatonly the oppressed are able to free the oppressed. In Peru,Boal practised his Forum theatre method, in which spec-tator replaces actor to determine the solution to a givenproblem presented by the actor, which can also be a realproblem someone in the community is facing. Boal alsolived in Paris, France, for a number of years, where hecreated several Centers for the Theatre of the Oppressed,directed plays, and also taught classes at the SorbonneUniversity. Boal created the rst International Festivalfor the Theatre of Oppressed in 1981.[9]

While Boal was in exile, his very close friend and Brazil-ian musician Chico Buarque wrote him a letter that wouldlater result in the Chorinho hit called "Meu Caro Amigo"or My Dear Friend (1976). In this song, Buarque tellshis friend about the situation in Brazil at the time, ad-dressing the military dictatorship in a very subtle butclever way (due to censorship issues, many artists couldnot express themselves freely).[14] Themelody of the songis very happy and upbeat while the lyrics explain:

My dear friend, please forgive me, if I cantpay you a visit, but since I found someone tocarry a message, Im sending you news on thistape. Here we play football, theres lots ofsamba, lots of choro and rockn'roll. Somedays it rains, some days its sunny but I wantto tell you that things here are pretty dark.Here, were wheeling and dealing for survival,and were only surviving because were stub-born. And everyones drinking because with-out cachaa, nobody survives this squeeze.[15]

1.4 Center for the Theatre of theOppressed-CTO-Brazil

After the fall of the military dictatorship, Boal returnedto Brazil after 14 years of exile in 1986. He estab-lished a major Center for the Theatre of the Oppressedin Rio de Janeiro (CTO), (www.ctorio.org.br) whose ob-jective was to study, discuss and express issues con-cerning citizenship, culture and various forms of op-pression using theatrical language. Boals work in theCTO made way for the approval of a new law that pro-tects crime victims and witnesses in Brazil.[16] Boalsgroup, (Team CTO: Artisto-Political Coordinator He-len Sarapeck/Political-Artistic Coordinator: Geo Britto/Jokers: Geo Britto, Olivar Bendelak, Claudete Felix,Flvio Sanctum, Monique Rodrigues e Alessandro Con-ceio. International Joker Barbara Santos e Cladia Si-mone. Joker Regional: Claudio Rocha, Kelly di Bertolli eYara Toscano. Joker Assistants; Janna Salamandra. Im-age Consulting: Cachalotte Matos. Financial Manage-ment: Graa Silva Legal Advice: Victor Gabriel) hasworked next to numerous organizations that ght for hu-man rights. In 1992, Boal ran for city councillor in Rio deJaneiro as a theatrical act, and he was elected. Boals sup-port sta was his theatre group, with whom he quickly de-veloped various legislative proposals. His objective wasto work out issues citizens might be facing in their com-munities through theatre, and also to discuss the laws ofthe city of Rio with people on the streets. After hav-ing worked to transform spectator into author in Theatreof the Oppressed, Boal initiates the Legislative theatremovement process, in which voter becomes legislator.Boal is known to say that he did not create laws arbitrar-ily while he was city councillor. Instead, he asked peo-ple what they wanted. Other politicians were not veryfond of this. Out of 40 of Boals proposed laws, only13 got approved during his term as councillor of Rio deJaneiro. His term ended in 1996, but he continued per-forming legislative theatre acts with dierent groups inBraslia, where four more laws got approved even afterBoal had left. Boal also worked with prisoners in Rio andSo Paulo. Boal argued that people in prison are not freein space, but that they are in time, and that the Theatreof the Oppressed strives to create dierent types of free-dom so that people are able to imagine and think aboutthe past, the present, and invent the future instead of hav-ing to wait for it. All this was in order for prisoners tohave a healthier and more creative lifestyle. People inthe Movimento sem Terra or Landless Workers Move-ment of Brazil also experienced working with Boals the-atre methods. Boals son Julin worked along with hisfather and now continues to take the Theatre of the Op-pressed to various communities in Brazil and around theworld. In March 2009, he received the title of WorldTheatre Ambassador from UNESCO.[17]

3.1 Theatre of the Oppressed (London: Pluto Press, 1979) 3

1.5 Death

Augusto Boal died on 2 May 2009 at the age of 78 inRio de Janeiro. He died of respiratory failure after a longbattle against leukemia.[18] Critic Yan Michalski arguesthat Augusto Boal is the best-known and most respectedBrazilian theatre practitioner abroad.[4]

2 Inuences

Augusto Boal presenting his workshop on the Theatre of the Op-pressed. Riverside Church, May 13, 2008.

Most of Augusto Boals techniques were created after herealized the limitations of didactic, politically motivatedtheatre in the poor areas where he worked. He foundthat his attempts to inspire the people living in poor orslum areas to rise up against racial and class inequalitywere inhibited by his own racial and class background,since he was white and comparatively nancially com-fortable. His new techniques allowed the idea of rebel-lion and the impetus for change to come from within thetarget group. Much of his early work and teaching was in-spired byMarxist philosophy, although through his careerhe had not been restricted by this and much of his worknow falls within the boundaries of a centre left ideology.Paulo Freire was a major inuence on Boals teachings.He and Freire became close in later years. When Freiredied, Boal said: I am very sad. I have lost my last father.Now all I have are brothers and sisters.[1]

Boal is also known to quote William Shakespeare'sHamlet, in which Hamlet argues that theatre is like a mir-ror that reects our virtues and defects equally. AlthoughBoal nds this quote beautiful, he likes to think of theatreas a mirror in which one can reach in to change reality andto transform it.[19]

3 Published works

3.1 Theatre of the Oppressed (London:Pluto Press, 1979)

Arguably Augusto Boals most academically inuentialwork[20][21][22] is the Theatre of the Oppressed, in whichthe reader follows Boals detailed analysis of the Poeticsof Aristotle and the early history ofWestern theatre. Boalcontends that the Aristotelian ethic means oppressing themasses, the people, the workers and the spectators infavour of stability and the continued dominance of a priv-ileged few. He argues that the Tragi-drama, a formu-laic drama style that today could be considered similar tothat of soap operas, helps the State promote its contin-ued existence. He sees the Brazilian government as anexample of an oppressive state using theatre to propagateits oppressive system. He then outlines his early theoriesand practices for attempting to reverse the paradigm. Italso talks about Newspaper Theatre, attempting to talkabout local problems and present it to the audiences, Fo-rum Theatre, currently used in over 70 countries, Invisi-ble Theatre, used to discuss political activity and ImageTheatre. Theatre of the Oppressed has been translated tomore than 25 languages over the years.[23] Boal also talksabout Invisible theatre in which an event is planned andscripted but does not allow the spectators to know thatthe event is happening. Actors perform out of the ordi-nary roles which invite spectators to join in or sit backand watch. One example was in a restaurant at the Chi-clayo hotel, actors sat at separate tables and informed thewaiters in loud voices that they could not eat the food.The actor stated that the food was not good. The waitersays the diner could pick something else to eat. So theactor chose a rather expensive item o the menu and sayshe will be able to pay for it. The actor mentions he hasno money and he would be willing to work for it. Thisdisplay made other diners start discussing the price andtreatment of workers at this hotel. This act allowed spec-tators to think about issues that were going on but werebrushed over because the issue did not directly involvethem.[24] Analytical theatre is when a participant tells astory and the actors improvise it. Each character is bro-ken down into all the social roles they could follow andthe participants choose an object to symbolize the role.This aspect of theatre allows the participants to see howthere are multiple roles a person could follow.[24]

3.2 Games For Actors and Non-Actors (Lon-don: Routledge, 1992; Second Edition2002)

This is probably Augusto Boals most practically inuen-tial book, in which he sets down a brief explanation of histheories, mostly through stories and examples of his workin Europe, and then explains every drama exercise that hehas found useful in his practice. In contrast to Theatre ofthe Oppressed, it contains little academic theory andmanypractical examples for drama practitioners to use even if

4 6 REFERENCES

not practicing theatre that is related to Boals academic orpolitical ideas. Boal refers to many of these as gameser-cises, as they combine the training and introversion ofexercises with the fun and extroversion of games. It hasbeen inuential in the development of Community The-atre and Theatre in Education (T.I.E.) practices world-wide, especially in Europe and South America. Thesegames include Carnival in Rio and Your Friend is Dead.

3.3 The Rainbow of Desire: The BoalMethod of Theatre and Therapy. (Lon-don: Routledge, 1995)

This book re-evaluates the practices commonly associ-ated with the Theatre of the Oppressed for a new purpose.It has been argued that Boal contradicts himself with thistake on his work,[25] as it mostly concerns itself with cre-ating harmony within society, whereas his early work wasconcerned with rebellion and upheaval. Boal states that,Theatre is the passionate combat of two human beingson a platform.[25] However, Boals works can be seen asa progression and exploration of a Left Wing world viewrather than a unied theory. In the context of those under-represented in a society, his methodology can be used asa weapon against oppressors. In the context of those in asociety who are in need of catharsis for the sake of theirown integration into it, it can be switched round to em-power that individual to break down internal oppressionsthat separate that individual from society. The theorieshave been useful in the pioneering eld of drama therapyand have been applied by drama practitioners. Boal statesin his work that there are three properties of the aestheticspace. First, is plasticity. He says that one can be withoutbeing. Objects can acquire dierent meaning such as anold chair representing a kings throne. He states that onlyduration counts and location can be changed. Second, isthat the aesthetic space is dichotomic and it creates di-chotomy. This idea suggests that there is a space withina space. The stage is in front of the audience and the ac-tor is creating his own space. Third, is telemicroscopic.This idea creates the idea that it is impossible to hide onstage. Every aspect of the space is seen and it makes thefar away close-up.[25]

3.4 Other books

Legislative Theatre: Using Performance to Make Pol-itics. London: Routledge, 1998.

Hamlet and the Bakers Son: My Life in Theatre andPolitics. London: Routledge, 2001.

The Aesthetics of the Oppressed. London: Rout-ledge, 2006.

4 Recognition

Augusto Boal receives the Crossborder Award for Peace andDemocracy. Abbey Theatre, April 3rd 2008.

In 1994, Boal won the UNESCO Pablo PicassoMedal,[26] and in August 1997, he was awarded the Ca-reer Achievement Award by the Association of The-atre in Higher Education at their national conference inChicago, Illinois. Boal is also seen as the inspiration be-hind 21st-century forms of performance-activism, suchas the Optative Theatrical Laboratories.Boal received The Cross Border Award for Peace andDemocracy by Dundalk Institute of Technology in2008.[27][28] Boal has in many ways inuenced manyartists in new media with his participatory modes of ex-pression, especially as the World Wide Web has becomesuch a powerful tool for participation and communica-tion. Notable examples include Learning to Love YouMore, happenings, and Steve Lambert's Why They HateUS.

5 See also Applied Drama Community theatre Paulo Freire Playback Theatre

6 References[1] Pedagogy&Theatre of the Oppressed: A Brief Biography

of Augusto Boal

5[2] Eckersley, M. 1995. A Matter of Style - The Theatre ofAugusto Boal. Mask Magazine. Vol. 18 No. 3. DramaVictoria. Melbourne.

[3] BABBAGE, Frances. Augusto Boal. Routledge, 2004.ISBN 0-415-27325-0 ISBN 978-0-415-27325-1

[4] Enciclopedia Itau Cultural- Teatro- Augusto Boals Biog-raphy (In Portuguese)

[5] O Palco. Biographical info Augusto Boal (In Portuguese).[6] Directly translated from the Augusto Boal Wiki page in

Portuguese.[7] Skidmore, Thomas (1999). Brazil: Five Centuries of

Change. New York: Oxford University Press. p. 155.ISBN 0-19-505810-0.

[8] http://www.ptoweb.org/boal.html[9] murio augusto boal, creador del teatro del oprimido.

[10] http://www.spunk.org/texts/art/sp000338.html[11] es:Teatro del Oprimido[12] Babbage, F. 2004. Augusto Boal. New York: Routledge.[13] Eckersley, M. 1995. A Matter of Style - The Theatre of

Augusto Boal. Mask Magazine, Vol. 18, No.3. DramaVictoria, Melbourne.

[14] Augusto Boal: candidato a Premio Nobel de la Paz, man-dioca.lel

[15] http://www.lidous.net/2008/09/24/my-dear-friends/[16] Jos Braz da Silveira, A proteo testemunha & o crime

organizado no Brasil[17] Entrevista al brasileo Augusto Boal[18][19] http://josekuller.wordpress.com/

38-entrevista-com-augusto-boal/[20] The Theatre of the Oppressed: The Philosophy of Au-

gusto Boal, by Kevin A. Harris[21] The theatre of the oppressed, by Augusto Boal. UNESCO

Courier, Nov, 1997.[22] Empowering the oppressed through participatory theatre,

by Arvind Singhal[23] feed://lainsoportablelevedaddelangel.blogspot.com/

feeds/posts/default[24] Wardrip-Fruin, Noah, and NickMontfort. From Theatre

of the Oppressed. The NewMediaReader. Cambridge,Mass.: MIT, 2003. 339-52. Print.

[25] Boal, Augusto. The Rainbow of Desire: the Boal Methodof Theatre and Therapy. London: Routledge, 1995. Print.

[26] UNESCO. World Theatre Day.[27] Denis Cummins to make presentation to Augusto Boal[28] Augusto Boal unplugged at the Abbey.

Vigilante, A. Vittoria P., Pedagogie della Liberazione:Freire, Boal, Capitini, Dolci. Foggia: Il Rosone, 2011.

7 External links Media related to Augusto Boal at Wikimedia Com-

mons Quotations related to Augusto Boal at Wikiquote International Theatre Institute - Author of theWorld

Theatre Day Message 2009 Augusto Boal International Theatre of the Oppressed Organisa-

tion. Theatre of the Oppressed Laboratory - New York

City worked with Boal from 1991 Augusto Boal Interview on Democracy Now! in

2005 Augusto Boal, Founder of the Theatre of the Op-

pressed, Dies at 78 Interview on Democracy Now!in 2007

Guardian Obituary, May 6, 2009 New York Times Obituary, May 9, 2009 A Tribute to a Brazilian Writer Who Made Theater

into a Weapon for the Oppressed June 28, 2009

Giolli, an Italian cooperative that works with hismethod August 11, 2009

Cardboard Citizens - The UKs Theatre of the Op-pressed Practitioners

Centre for Community Dialogue and Change, India:Breaking Patterns, Creating Change - ConductingTheatre of the Oppressed Workshops and Researchespecially in Education and Healthcare

6 8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

8 Text and image sources, contributors, and licenses8.1 Text

Augusto Boal Source: http://en.wikipedia.org/wiki/Augusto_Boal?oldid=666071925 Contributors: AxelBoldt, Tobias Hoevekamp,Olivier, Kingturtle, RodC, Bearcat, Hadal, Maroux, Ganymead, Bepp, Vivacissamamente, D6, Discospinster, Rich Farmbrough, Prowsej,Bender235, Fschoenm, El C, Laurascudder, Adambro, Pearle, Nsaa, Alansohn, Philip Cross, RJFJR, Mikeo, Eztli, Drbreznjev, Jpers36,Mandarax, David Levy, Tabercil, Lars T., Parababelico, Fish and karate, FlaBot, Nihiltres, Gurch, Design, Bgwhite, The Rambling Man,YurikBot, Mahahahaneapneap, RussBot, Moocreature, Barkeep49, Bruxism, Driskil3, Moe Epsilon, Saikiri, SmackBot, Twinkling, Half-Shadow, Richfe, Chris the speller, Bluebot, Rrburke, Jcravens42, Bardsandwarriors, Dantadd, Davidtheconqueror, MaliNorway, John,Stwalkerster, Romanticcynic, GilbertoSilvaFan, Avant Guard, Bal00, JoeBot, Simon matthew brewis, O1ive, CmdrObot, Andrew E.Drake, Morgantzp, Cydebot, In Defense of the Artist, Thijs!bot, Pajz, Marek69, ...xoxo..., Cyrus Jones, Nick Number, Aaronprice23,AntiVandalBot, Rsocol, Brewis2, Magioladitis, Swikid, Waacstats, Cgingold, Kitov, Patstuart, Lord Pheasant, MartinBot, Fs007a2321,Mausy5043, STBotD, WWGB, Shakesugaree, Philip Trueman, TXiKiBoT, Qxz, Matthij, Kenshin, Wenli, Cosprings, Sarahrmurphy,DerbyCountyinNZ, Trigaranus, Marcelooyd, Bentogoa, RoisinF, Yone Fernandes, Mr. Granger, ClueBot, Sp12342, DionysosProteus,EoGuy, Niceguyedc, Arunsingh16, Squinky too, PMDrive1061, Homonihilis, M4gnum0n, Redthoreau, El bot de la dieta, Rrkem, Versus22,SoxBot III, UnCatBot, ContemporaryArtsMedia, Vivien K, Donahew, MystBot, Addbot, Blackbabylon, Fieldday-sunday, Mr.stuartgrey,Raul araujo, 5 albert square, Tide rolls, Ben Ben, Luckas-bot, Yobot, II MusLiM HyBRiD II, THEN WHO WAS PHONE?, Rubinbot,Jim1138, Kingpin13, Materialscientist, LovesMacs, Xqbot, Magic junk, Omnipaedista, Shirik, 070758voteforpedro, Voteforpedroorsuf-fertheconsequences, Andrecomein, Eugene-elgato, Jamshud, Thehelpfulbot, FrescoBot, Inscription, Best name, The Womp, Radicalbytes,DrilBot, Aziraphael, Roguebluejay, December21st2012Freak, White Shadows, Richarddu, Xmarkmanx, RjwilmsiBot, Aminacara, Emaus-Bot, Juha Suoranta, K6ka, ZroBot, Kls428, Jones1009, Ss3teddy, Arman Cagle, Will Beback Auto, ClueBot NG, Thomascrombez, Mar-tinlead, Titodutta, Alla Breve, EuroCarGT, Ducknish, Futureblues2071, Jmswallace, Geobritto, Pronacampo9, MandinN, St170e, Na vozsilenciada, Haider kkhan, Joelryan10, KasparBot and Anonymous: 210

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BiographyEarly lifeWork at the Arena Theatre of So PauloExileCenter for the Theatre of the Oppressed-CTO-BrazilDeath

InfluencesPublished worksTheatre of the Oppressed (London: Pluto Press, 1979)Games For Actors and Non-Actors (London: Routledge, 1992; Second Edition 2002)The Rainbow of Desire: The Boal Method of Theatre and Therapy. (London: Routledge, 1995)Other books

RecognitionSee alsoReferencesExternal linksText and image sources, contributors, and licensesTextImagesContent license