By Mady Schutzman, Jan Cohen-Cruz
This conscientiously built and thorough selection of theoretical engagements with Augusto Boal’s paintings is the 1st to seem ’beyond Boal’ and significantly assesses the Theatre of the Opressed (TO) move 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 individuals placed TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race thought, feminist functionality paintings, 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 reviews and political technology is made obvious. the guidelines generated all through A Boal significant other will: extend readers' realizing of TO as a fancy, interdisciplinary, multivocal physique of philosophical discourses supply quite a few lenses during which 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 unusual readers and new scholars to the self-discipline with an exceptional research source.
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Additional info for A Boal Companion: Dialogues on Theatre and Cultural Politics
In the midst of the military build-up, a graduate student teaching a ﬁrst-year writing course in the English Department asked if we could hold a departmental discussion on how to teach about the impending war. The graduate student, a young, white, politically conscious English major steeped in academic culture, had introduced the topic of the war in her course and was troubled by the knee-jerk, prowar sentiment of many of her working-class, Black and Latino/a students. She worried that she could not be impartial about the war herself and would therefore impose her ideology on the students.
S. (2000) Flash and Crash Days: Brazilian theater in the post-dictatorship period. New York: Garland Publishing. 32 Randy Martin Gladhart, A. (2000) The Leper in Blue: Coercive performance and the contemporary Latin American theater. Chapel Hill, NC: University of North Carolina Press. Joseph, M. (2002) Against the Romance of Community. Minneapolis, MN: University of Minnesota Press. Kershaw, B. (1999) The Radical in Performance: Between Brecht and Baudrillard. London: Routledge. —— (2001) Review of Legislative Theatre, Theatre Research International, 26: 2: 209–21.
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