In 1973, Augusto Boal carried out a series of experiments in Lima and Chiclayo, Peru under the auspices of the Integral Literacy Operation, a program conducted by the government of Peru to eliminate illiteracy within 4 years. Boal was a participant in the theatrical sector, one of several art-form sectors, which, “tried to show in practice how the theatre can be placed at the service of the oppressed, so that they can express themselves and so that, by using this new language, they can also discover new concepts” (Boal, 1979 pg 121).
In Theatre of the Oppressed, Boal describes these and other experiments where theatre is used to empower and give voice to those in the grip of oppression. According to Boal, the participant, who he refers to as, “the liberated spectator” (1979, pg 122) participates in the action which can be seen as a rehearsal for real-life action. The following four stage plan transforms the spectator into an actor. In the first stage, the spectators get to know their body by performing a number of exercises designed to help them understand their physical limitations and boundaries. In the second stage, the spectators play several games to become familiar with expressing themselves. The third stage involves the theatre as language where the spectators write, speak through images and act. In the fourth stage referred to as theatre as discourse, the spectators perform a piece on a subject important to he or she.
Using art in this way literally empowers the spectator to act out their story, which gives voice to their beliefs and in some cases, provides a rehearsal for their revolutionary actions. Boal describes numerous subjects chosen by the spectators which illustrate the range of stories people wanted to share. Boal shares his belief of the impact of this art form in the following passage, “I believe ethat all the truly revolutionary theatrical groups should transfer to the people the means of production in the theatre so that the people themselves may utilize them. Theatre is a weapon, and it is the people who should wield it” (Boal, 1979 pg 122). In summary, Boal’s experiments have liberated the spectator who is free to act and think for himself or herself while engaged in this process. The spectators do not delegate power to the actors; they experience it themselves and in the process feel what it is like to act on their convictions and values.
References
Boal, A. (1979). Theatre of the Oppressed. New York: Theatre Communications Group, Inc.
If theatre is a weapon - how would you read this against the two other artist/activists/critics in your other blog postings?
ReplyDeleteTheatre gives a voice to those without it - after the transference what happens?
Boal apparently used theatre to give voice to the oppressed in Brazil, very similar to what Freire has accomplished. In relation to the other artists I have written about, I do see similarities with activists who used visual art in South Africa to give victims of apartheid a voice to describe the injustices conducted against them.
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