In "Theater of the Oppressed", Augusto Boal contends that performance center is inalienably political and that customary, Aristotelian auditorium is innately onerous. He surveys the historical backdrop of theater, from Aristotle through Machiavelli, Hegel, and Brecht, and proposes another thought of theater that breaks the limits amongst gathering of people and entertainers, and amongst chorale and hero. In the "Presentation", Boal presents his principle suggestion, that performance center is naturally political. He shows clashing traditional thoughts of whether the performance center is simply amusement or is on a very basic level political. Aristotle contended that theater and verse are autonomous of legislative issues, and Boal tries to demonstrate that Aristotelian performance center is a political device that subdues the majority. Augusto Boal portrays how early logicians considered the association amongst theater and legislative issues. He says that some respected human expressions and particularly theater as a demonstration of unadulterated thought. Others felt that auditorium was a dream of society in change and along these lines is political on the grounds that it can show the execution of progress or how change can be deferred. Boal additionally specifies Plato's position that artists ought to be ousted from society since "verse just bodes well when it lifts up the figures and deeds that should fill in as illustrations" (Boal 12). He additionally portrays how Plato
Click here to unlock this and over one million essaysGet Access
In “Pedagogy of the Oppressed,” Paulo Freire tells of the complex relationships that contrast narrative versus instructive teachers and compliant versus existentially aware students, in regards to the various methods of instructing and acquiring knowledge. Although this reading is only a particular excerpt from Chapter 2 of Pedagogy of the Oppressed, Freire does an exceptional job by capturing the immense reality of certain educational methods. He explains the “banking” system of teaching, which portrays the teachers as “oppressors” who enforce themselves with an authoritative, commanding position upon the “oppressed” students. By introducing scholars to this “banking” concept of education, the teacher has no regard for the student, inhibiting further questioning and analyses, which only “negates education and knowledge as processes of inquiry.” (Pedagogy) Freire applies negative connotations to help better demonstrate the contents in which these teachers apply towards their students, stressing that this simply is not well defined enough when the time arrives to properly educate the students.
Brecht’s political theatre stems from his political views towards communism and the upper class society. Theatre that comments on political issues within society. Brecht began to have a dislike for the capitalist society he was brought up in and wanted more of an equal approach to the world and the people around him. With epic theatre, Brecht wanted it to be both didactic (able to teach others) and dialectic (able to create discussions and ideas). The audience at no time during an epic play can be seen to be in a trance or take what they see on stage for granted. Our performance is reflective of Brecht and his Epic and Political theatre as we address many political topics such as Marxism and the divides between classes and the corruption of the government. We have props such as protest signs and banners to communicate Brecht’s political theatre to the audience. In the first episode, Brown’s Boys, there is a scene where MPs choke and die after ignoring the recession and protesters emerge into the audience chanting that ‘politics is dead’ and ‘they don’t really care about us’ while holding banners saying, ‘politics is dead’ and ‘Gordon Clown’. This was done as it represented politics and the fact the seriousness of the situation was ignored; showing how quickly the issues with the recession spiralled out of control and became something that even the higher up in society were unable
Jacques LeCoq and Augusto Boal had fairly similar philosophies but had extremely different ideas for theatre. Boal believed that “An actor’s instrument is their body, which needs to be completely ‘free’ in order to express true emotions”. Where as LeCoq believed that “Everything moves” and that as we ‘free’ the body, we begin
Brechts work is based on the concept that theatre is a means of political persuasion for the masses. He sees the theatre as a tool to manipulate the audience, and to influence their day-to-day living once that have thought about issues raised during the performance.
The Greeks were known for giving offerings to their gods. They decided to build a theater where they could give their offerings. Although the main thing that they used it for was giving offerings, it was also used for some other things. This paper will be talking about Greek drama genres, why theater was so important, and how they make their voices heard.
In the 3rd century B.C. a philosopher Aristotle formed what he called the “Six Elements of Drama,” which are thought/theme/ideas, action/plot, characters, language, music, and spectacle. Little did he know that two millennia later, we would use these guidelines in order to evaluate or develop an exquisite play. Twelve Angry Jurors followed these guidelines to pull in their audience and cause them to be attached to characters or intrigued by the plot in such a way only a play of high excellence could. This play was performed in Merrol Hyde Magnet School. Twelve Angry Jurors demonstrates the excellence in the thought/theme/ideas, action/plot, characters, language, music, spectacle also known as the “Six Elements of Drama”
The interest in writing about the reconstruction of the Globe Theatre has been manifested in the entire essay especially in the first two paragraphs of the essay. At the point where Greco identifies her particular concern which was the actor-audience relationship in the globe, Greco categorically indicates her interests in writing about the reconstruction of the Globe theatre which in essence grew out of her experience of the Globe Theatre. It is clear from the essay that even in the early days of the reconstruction efforts, investigation of the relationship between the actor and the audience was some of the importance that had to be considered in the reconstruction of the Globe Theatre (Carson & Karim-Cooper, 2008). In this sense, they focused
“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”
In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.
Augusto Boal created Theater of the Oppressed for individuals who battle for freedom and are eager to find numerous ways to stand up for themselves against the abuse they receive in their everyday lives. Through Theater of the Oppressed Boal trusted that individuals get a grasp of themselves, groups and a reality that is displayed through activities and discourse.
The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than
The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.
The Theatre of the Oppressed is a form of theatre that uses a variety of games/exercises that seek to help people and communities to find solutions to problems and create greater harmony within groups. Augusto Boal, a Brazilian director, created it in 1973, however had the inspiration for it during the 1960s when he would invite audience members to stop performances and suggest different actions for the actors to carry out. Legend holds that at one of these performances, a woman was so irritated that the actor could not understand what she meant that she went on the stage and acted it out her self. Thus was born the spect-actor; a term that Boal used to describe audience members who would come on stage and act out the movements as they saw it should be. In doing this, he discovered that audience members had the power to not only imagine change, but also carry it out, creating an ability within them to reflect this idea of change within society and to view theatre not as a spectacle but as a language to be used. He was then exiled to Argentina because of this work, where he wrote his first major text, ‘The Theatre of the Oppressed’. He then moved to Paris where he continued to teach, establishing many Centres for the Theatre of the Oppressed.
Even his own lawyer referred to him as a politician because of the influence he had over his audiences. Fo was also accused of dividing the working class people with his theatrical criticisms. Michele Straniero accused Fo of “falsifying historical facts and simplifying the popular elements of his material.”2 It would seem that those who are most critiqued in their time are those whose methods have a heavy influence over modern drama.