Download A Boal Companion: Dialogues on Theatre and Cultural Politics by Mady Schutzman, Jan Cohen-Cruz PDF

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By Mady Schutzman, Jan Cohen-Cruz

This rigorously built and thorough number of theoretical engagements with Augusto Boal’s paintings is the 1st to appear ’beyond Boal’ and significantly assesses the Theatre of the Opressed (TO) circulate in context. A Boal spouse appears on the cultural practices which tell TO and discover them inside a bigger body of cultural politics and function conception. The participants placed TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race concept, feminist functionality artwork, Deleuze and Guattari, and liberation psychology – to call quite a few, and in doing so, the kinship among Boal’s venture and a number of fields of social psychology, ethics, biology, comedy, trauma reports and political technology is made noticeable. the information generated all through A Boal better half will: extend readers' knowing of TO as a posh, interdisciplinary, multivocal physique of philosophical discourses supply quite a few lenses wherein to perform and critique TO make specific the connection among TO and different our bodies of labor. This assortment is perfect for TO practitioners and students who are looking to extend their wisdom, however it additionally offers unusual readers and new scholars to the self-discipline with an outstanding learn source.

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Extra resources for A Boal Companion: Dialogues on Theatre and Cultural Politics

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This idealized realm where justice is driven by the best available argument, can be ascribed to a person but is more properly attributed to a strongly rationalist conception of law. Law in this idealist sense assumes a domain of pure representation to which some particular case or reality is applied. Ensemble brings these realms together as a transitive movement of theory and practice. Beyond oppression? In simple terms, those who make the rules hold the power, and yet it is hard to imagine a society run by rules alone.

A willingness to let the crisis of theatre and theory reach their disturbing heights allows us to return for more, like Boal himself, against so many reductive and dismissive readings of our work. Bibliography Auslander, P. (1999) Liveness: Performance in a mediatized culture. London: Routledge. Boal, A. (1979a) Téchnicas Latino-Americanas de Teatro Popular. São Paolo: Editora Hucitec. —— (1979b) Theatre of the Oppressed, trans. A. L. McBride. New York: Urizen Books. —— (1998) Legislative Theatre: Using performance to make politics, trans.

In a spirited refutation of the claim that theatre in Brazil is dead, David George seems to build his case on a kind of assassination of Boal as belonging to a past that must be severed from the present if room is to be made for emergent stages. Writing of a Brazilian theatre festival he attended in the early 1990s, George proclaims “that the stage is alive and well in Latin America’s largest country, that it has overcome the trauma of twenty years of military dictatorship, the dismantling of arts funding agencies under the corrupt Collor administration, and the ideological patrol, epitomized by Augusto Boal’s stifling dicta designated as ‘theatre of the oppressed’” (George 2000: 128).

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