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"Boal, Augusto Criticism and interpretation."
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The Theatre of the Oppressed in practice today : an introduction to the work and principles of Augusto Boal
\"How has the work and legacy of Augusto Boal's Theatre of the Oppressed been interpreted and practised around the world? What does it look like in practice in different contexts? This book provides an accessible introduction to the political and artistic principles Boal's techniques are founded upon and traces their legacy today through examples of exemplary practice from around the globe. Authored by one of the key exponents of the Theatre of the Oppressed working today who was mentored by Boal, the volume equips readers with a clear grounding in the universal, transferable principles of Boal's work, extrapolated from best practice across the field. Augusto Boal (1931-2009) was one of the most influential theatre directors of the 20th and early 21st centuries with his work and seminal manifesto for a Theatre of the Oppressed having a lasting impact on performance studies and the fields of education and community development. Using detailed contemporary case histories Ali Campbell demonstrates how the underlying principles of Boal's practice have been adapted in the work of some of the most influential applied performance groups operating internationally today. These highly accessible studies extrapolate Boal's core principles as they are enacted in the practices of an urban network (Theatre of the Oppressed NYC); a rural and developmental theatre organisation (Jana Sanskriti, West Bengal); Boal's original company CTO Rio (Brazil) and a theatre-based group led by Learning-Disabled adults in the UK (The Lawnmowers Independent Theatre Company). The book concludes with an envisioning of possible futures for the Theatre of the Oppressed movement in the shifting political, educational and artistic context of the new century, with the principles in practice as a guide\"-- Provided by publisher.
BOOK
Augusto Boal und Christoph Schlingensief - Zwei Rebellen in der Theaterlandschaft
Augusto Boal und Christoph Schlingensief, zwei Theaterkunstler, die zunachst nicht viel gemein haben, eint dennoch das Anliegen, mit Theater die Menschen herauszufordern und aufzurutteln. Gesellschaftliche Missstande werden dazu vorgefuhrt und Vertrautheiten in Frage gestellt. Die Aufforderung zur Auseinandersetzung mit sich selbst und seiner Umgebung ist der Kern ihrer unterschiedlichen Theaterkunst. Das Politisierende und Entgrenzende ihrer individuellen Theaterauffassung verbindet die beiden und lasst sie als Rebellen auftreten.Brigitte Bauer stellt in ihrer vorliegenden Studie detailliert die Biographien, die Einflussquellen und die spezifischen Arbeitsweisen Augusto Boals und Christoph Schlingensiefs vor und erlautert die Gemeinsamkeiten und Unterschiede der beiden Kunstler, auf die sich deren Einordnung als Rebellen in der Theaterlandschaft begrundet.Bauers fundierte Analyse ist zugleich ein engagiertes Pladoyer fur die Bedeutung und Verbreitung der vorgestellten Theatermethoden als wichtigen Beitrag zur kulturpadagogischen Praxis.
eBook
Augusto Boal Is Alive and Well and Living in Mapleton: The Guilty Remnant in HBO’s The Leftovers
The coringa, which is recognized as a \"permanent structure of the performance for all plays\" in Theatre of the Oppressed, works toward activating two oppositional characters (which Boal terms \"functions\") within the narrative-(i) \"the protagonic function,\" an often-masculine character designed to closely resemble the audience and who belongs to \"the most concrete reality\" and (2) \"the 'Joker' function,\" a feminine character who serves as an \"abstraction\" to the protagonist as well as a \"contemporary and neighbor\" of the spectator (Boal, Oppressed 142).\\n Kevin and Matt stand in stunned silence at the GR's theatrical finale-some Guilty Remnant members have been tied up and beaten, others are being hunted down by citizens with guns, the group's compound has been set on fire, and cars have been parked by the spectactors to block any attempt to bring fire trucks near. [...]with a third and final season approved by HBO, Lindelof has stated a desire to make it \"something else entirely\" (Giroux). [...]it remains to be seen whether the pedagogy of Boal will remain as much a part of the DNA of The Leftovers' final act as it has the landscape of the twenty-first-century political theater movement.
Journal Article
Challenging Theatre's Hidden Hierarchies: A Comparison of Christoph Schlingensief and Augusto Boal
In the German cultural landscape of the 1990s, the name Christoph Schlingensief (1960-2010) was commonly associated with the epithets \"agitator\", \"agent provocateur\" and \"enfant terrible\". His eclectic theatre productions often engaged with current political and social issues that generated intense media coverage for this film-maker turned theatre director. The primary response to his work consisted of an ambiguous fascination: his detractors disregarded him as a theatrical amateur and publicity-seeking prankster, while his enthusiastic supporters tended towards conferring guru status upon him. Neither of these responses really defuses the political edge of Schlingensief\"s performance theatre, in which he plays a central role and deliberately creates uncertainty by dissolving clear distinctions between art and reality. The ambiguity of his approach indicates a parallel with the attempts of the historical avant-garde to forcibly close the gap between art and daily life. Analogously, Schlingensief has sought to create his own models of \"unpredictable fields of action\", that are uniquely characterised by \"improvisation and the participation of the audience\".
Journal Article
Challenging Theatre's Hidden Hierarchies: A Comparison of Christoph Schlingensief and Augusto Boal
In the German cultural landscape of the 1990s, the name Christoph Schlingensief (1960-2010) was commonly associated with the epithets \"agitator\", \"agent provocateur\" and \"enfant terrible\". His eclectic theatre productions often engaged with current political and social issues that generated intense media coverage for this film-maker turned theatre director. The primary response to his work consisted of an ambiguous fascination: his detractors disregarded him as a theatrical amateur and publicity-seeking prankster, while his enthusiastic supporters tended towards conferring guru status upon him. Neither of these responses really defuses the political edge of Schlingensief\"s performance theatre, in which he plays a central role and deliberately creates uncertainty by dissolving clear distinctions between art and reality. The ambiguity of his approach indicates a parallel with the attempts of the historical avant-garde to forcibly close the gap between art and daily life. Analogously, Schlingensief has sought to create his own models of \"unpredictable fields of action\", that are uniquely characterised by \"improvisation and the participation of the audience\".
Journal Article
