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

By Mady Schutzman, Jan Cohen-Cruz

This rigorously built and thorough number of theoretical engagements with Augusto Boal’s paintings is the 1st to seem ’beyond Boal’ and significantly assesses the Theatre of the Opressed (TO) circulation in context. A Boal significant other seems on the cultural practices which tell TO and discover them inside of a bigger body of cultural politics and function thought. The individuals placed TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race idea, feminist functionality paintings, Deleuze and Guattari, and liberation psychology – to call quite a few, and in doing so, the kinship among Boal’s undertaking and a number of fields of social psychology, ethics, biology, comedy, trauma reports and political technological know-how is made noticeable. the tips generated all through A Boal spouse will: extend readers' figuring out of TO as a posh, interdisciplinary, multivocal physique of philosophical discourses supply a number of lenses wherein to perform and critique TO make particular 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 presents unexpected readers and new scholars to the self-discipline with a very good examine source.

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

Example text

When a theatre audience is politically committed, a demand is placed on the performance to treat the possibilities on stage as a vehicle for advancing the audience’s capacity to influence politics through existing political organizations. This dynamic alignment of political engagement, critical disposition, and utopian aspiration is not easy to achieve and presents both a resource and a burden for those who would aim to sustain it. Political theatre readily finds itself, through its very ambition, already compromised in its ability to bring all the elements together, onstage and off.

Oppression as a category of critique has the benefit of aligning a whole range of injustices without assuming that people must first reach agreement as to what their problems are before they can act together to redress them. Rallying people around the notion that they are oppressed by some power external to them has the benefit of resisting premature and therefore tendentious and divisive calls to unity. But the notion of oppression as something done to people can also miss a valuation of the generative, creative wealth of everyday life that those deemed oppressive may try to resist or appropriate.

Ultimately, it is the poetic that is dominant in the particular sense of alignment of publics with the norms of state authority that operate against them. As Amalia Gladhart has observed, “Boal’s theory presupposes that the position of onlooker is inherently oppressive for the spectator. The nonintervening bystander, however, also facilitates oppression, allowing torture to continue unchecked, accepting spurious ‘explanations’ of disappearance and imprisonment” (2000: 21). By this reckoning there is no neutral place in theatre or in politics.

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