The Making of the Theatre of the Oppressed

Theatre of the Oppressed is the most used theatrical methodology in the world today. But more than a decade since the death of its creator, Augusto Boal, there has been very little critical engagement with its fascinating origins. This book traces the historical, political and artistic path that led Augusto Boal to develop his world famous methodology. Uniquely positioned as a former student and long-time collaborator of Augusto Boal, Geo Britto Lopes offers new research and biographical details on the life of Boal, his involvement in revolutionary movements, and his relationships with militants and militant intellectuals. He combines historical narratives with a mastery of the theoretical project and a grounding in the practice as it has evolved. The book acknowledges the richness and complexity of the work, how it evolved through myriad iterations, and the wide range of ways it influences its diverse practitioners and opens several new windows for future research. It is perfect for people with an interest in political theatre and art as social transformation.

Traces Augusto Boal’s development of the most used theatrical methodology in the world – the Theatre of the Oppressed

Geo Britto has worked at the Center for Theater of the Oppressed, Rio de Janeiro, for 30 years. He is currently the Artistic Director of the School for Popular Theater. He has coordinated projects in favelas, prisons, mental health institutions, schools, universities and cultural centers. He has led lectures, workshops and performances in Palestine, Bolivia, Mozambique, South Africa, Egypt, Guatemala, Mexico, Argentina, Uruguay, Peru, India, Poland, Croatia, Portugal, Spain, Germany, France, England, Canada and the United States. He holds a Master’s in Contemporary Arts Studies from Universidade Federal Fluminense.

Introduction: A Tour Through Theory of Arts and Social Sciences Part I: Rio de Janeiro Remains Beautiful 1. Abdias tells Boal Part II: Boal in the Land of Uncle Sam 2. Boal in the United States 3. Norris Houghton 4. John Gassner, Boal’s Hegel 5. The Classes and their Content (Dramatic Workshop) 6. The Plays 7. Langston Hughes 8. Augusto Boal, the critic 9. The Actor’s Studio and Boal, a Moment of Practice Part III: Movements of Revolutionary Praxis for Theatre? 10. All at the Same Time Now 11. National Stage 12. Nationalizing of the Classics 13. The Musicals 14. Piscator 15. A Chance to Break the Gears: Newspaper Theater Final Considerations References