20th Century Theatre History: Augusto Boal - Term Paper Example

Task: 20th Century Theatre History The integration of spectators and audience is critical in the success of any theatre performance in communicating the theme by the actor. In addition, spectator alienation has rendered theatre performance an exercise void of political expression and openness to spectators and the audience. The adoption of techniques that engage the audience and the public in theatre performance is vital in full communication of the theme in the performance. Such techniques aimed at assuring the spectators that that their contributions towards the success of any theatre performance are invaluable are traceable from the contribution of great artists as Augusto Boal. The contributions of Boal in creating reforms in theatre were substantial and extensive. In as much as there are diverse roles of theatre in the society, its contribution as an architect of social and political reforms is invaluable in any society, as expressed by Boal. Boal deserves honor for his contribution in initiating reforms in theatre, in Brazil and globally. Key among the reforms that he introduced in theatre is the transition that promoted the use of dialogue in performance as compared to monologue, in the 1950s and 1960s. The role of Boal in the transformation came with the demonstration and use of innovative and interactive theatre techniques to engage the public, who constitutes the audience. During his profession as an artist, Boal instilled the perception that dialogue was the most preferred form of communication between the audience and actors. Highlighting the jovial nature of dialogues and human’s ability to evoke interactive contribution of the audience, Boal introduced diverse techniques that engrossed the audience’s attention. In his perception, the theme of theatre is better communicated to the spectators through dialogue than monologue. The contribution of Boal in transforming theatre receives applause and appreciation for its role in redefining the association between actors and the audience and the scenic environment, as well. In Boal’s view, the appropriateness of theatre to audience and public was unlimited as long as there was the transmission of methods used to the spectators through interactive forums. Theatre, therefore, was central for its educative role and theatre of the oppressed had that as the core objective. It would create the social reality in the lives of the audience and bring home the notion of reforms from such teachings. Such techniques adopted were applicable in diverse forums including games and drama. In some forums, there were limited positions for passive spectators but only chance for observation and acting that is inclusive. A change in the relationship that spectators and actors share in any theatre scenic environment was among the main reforms that Boal introduced in theatre. While advocating for a stronger partnership between actors and spectators in theatre, Boal encouraged the adoption of dialogue over monologue in stage. The audience, through dialogue, assumes the role of an active participant in theatre. Boal promoted the understanding that theatre had close association with life in diverse considerations including interactive contributions of all parties. This convinced that citizens, as well, would be best theatre if they possessed full awareness of the play. According to Boal, the role of the audience in theatre is influential and the untrained are unavoidable part of performance in theatre. The strength of theatre in attaining social transformation in a society is massive, as depicted in the notions and beliefs of Boal. He initiated social change in Brazil through theatre by reaching to ordinary citizens in farms and factories. The invisible theatre was instrumental in engaging citizens in theatre, being among the techniques used by Boal. The invisible theatre involved informal gatherings turned into theatre and was spontaneous. The staging was in public places as restaurants and centers of gatherings where citizens would gather. Such theatre addressed social concerns with a central objective of sensitization of social reality issues among the citizens. They sensitized the citizens on poverty and oppression that were their greatest social challenges. Noteworthy of invisible theatre was the blur distinction between reality and performance that existed in invisible theatre. The public would leave with utmost conviction about the experience during the performance. They were applicable in educating the public and for instilling the spirit of revolution in the society. They feature radical performances that were convincing to the citizens. Forum theatre and performance was key among the different forums that Boal encouraged and contributed towards its introduction. The theatre forum would help interact with the ordinary people and used the theories of Paolo Freire (Boal 1). In forum theatre, the ordinary people had the role of the artists. They were instrumental in changing the society to accept social realities. Forum theatre featured plays that provided remedies to social challenges of the ordinary citizens. Negotiations on the social challenge were the first stage of the theatre and participants’ suggestions highly contributed to the creation of plays. Image theatre, as used by Boal, was a form of theatre that gave chance to the audience to create their opinions on a given theme. Using the notion of an image, the audience would transform the social concern to a desirable position. Image theatre involved serious and intense brainstorming among members. This was a viable platform of social activism. Boal also introduced the Newspaper theatre, in the 1960s, which featured the involvement of citizens and ordinary members of societies to discuss social issues features in news. Discussion forums were diverse including churches, among faithful, and factories among employees. Members of the society discussed the social issues featured in the newspaper and would act them on stage, as well, as a form of enhancing their understanding of the theme. This promoted the relationship between actors and the audience by initiating the audience to be close part of theatre. Theatre presents a strategic platform that actors can use to advocate for the rights of their audience as per the position held by Boal. It remains a sole role of actors to pledge for the audience’s political rights in their theatre. Boal maintained the notion that theatre is a central tool of liberation that is efficient in provoking the political class to ensure the rights of ordinary citizens. Theatre is a creation that emanates from the people and their participation is critical. The chief role of Boal’s theatre was to create for change (Sadler 82). The empowerment of spectators in theatre to transform to actors is a great change in the interaction between the audience and actors. Sadler highlights an example of the ability of the theatre troupe from the University of Arizona as self-made actors, from spectators. This proves that the art of perfecting the audience into actors is viable can attract extensive achievements. Empowering the audience through inclusive participation is sure way to advocate for their social justice. Theatre is a stage that is effective for human expression. Systems that oppress humanity can receive criticism from Theatre and, therefore, a way of initiating transformation. Democracy is achievable by use of theatre as a platform for correcting injustices. Student activism can take the form of theatre, as well (Sadler 83). Social justice education is well communicated through theatre. As Boal states, art should maintain its political as well as social components to serve its full role in the society. Failure of art to depict its social advocacy role renders it a tool used by the elite to express their concerns and alienates the oppressed. The use of art to create social reforms in any society is what renders it powerful and performing its mandates. Theatre, as an architect of reforms for the oppressed, is important for allowing them to undertake their duties in societal reforms. Students of art and theatre have the challenge to use theatre to express the concerns of the ordinary citizens. They can sensitive the population to attain empowerment to bring down tyrannical institutions in the society. Activism can take the form of theatre, even in institutions of learning, and oppose oppressive administration in the society. Civic engagement of the society members is important. Theatre is a form of civic engagement of the society in keeping the administration accountable to the ordinary citizens. Hundley highlights the essential contribution of Boal’s concept of participation, through theatre, in enhancing social transition (Hundley 18). A society that does not give precedence to theatre as a mode of instilling social change faces the challenges of low political consciousness. The interaction between audience and actors through the establishment of dialogues, as opposed to monologue enhances political awareness in the society (Hundley 19). Societies that place great emphasis on esthetics in theatre instead of dialogue between the audience and actors are social empowerment. The type of theatre introduced by Boal in Brazil, according to Hundley, was an institution that advocated for the voiceless in the society. Social drama is the foundation of theatre that advocates for the rights of the unprivileged members of the society. The techniques used by Boal in creating social change, through Theatre in Brazil and other places offer an encouragement to most social activists (Green 47). The innovation of transforming the audience to assume the role of the actors are intriguing ideas that make him a legendary artist for many who use of adopt the techniques in Theatre . According to Green, action of involving the spect-actors through intensive rehearsal initiates their resistance to social injustices in the society. The rehearsal, therefore, is a disguised revolution that should be the most valued importance that theatre creates to the audience. This creates empowerment among the public because of their intensive involvement in theatre. The impacts of a social problem as oppressive governance, for instance, would be subject to criticism by the audience during rehearsal. In that case, rehearsal would be a means of the revolution that the audience, turned actors, deserve. Through rehearsal, they have a deep understanding and develop appreciated resistance to the social problem. The efforts of Boal to set up the center for the Theatre was never a mean achievement after leaving Brazil because of political wrangles with the government, in 1971. His stay in Portugal and France were a success after he unveiled the theatre in Paris, and returned to Brazil in the 1985. His efforts after exile were plausible after the establishment of the theatre’s centre in Rio de Janeiro. Most of his projects were important in contributing towards changing social reality. After his election of senator of Rio, in 1992, Boal implemented his legislative theatre project. The role of creating a theatre that is politically open and interactive remains one of the greatest achievements of Boal. He referred to monologue as a manifestation of oppression (Boal 1). Theatre, according to Boal, was as political as any other activity of man. He demonstrated this through his dedication to use theatre to enhance social reality to ordinary citizens throughout his forty-year profession as a dramatist and director. The efficacy of Boal’s techniques in creating social change remains influential in several parts of the world, save for the success in initiating social liberation in Brazil. Works Cited Boal, Augusto. Famed Brazilian Artist Augusto Boal on the “Theatre of the Oppressed”. Interview with Juan Gonzalez, Democracy Now. 2005. Web. March 23, 2013. http://nomadant.wordpress.com/biblioteca/textos/Theatre -oppressed/ Green, Sharon. Boal and Beyond: Strategies for Creating Community Dialogue. Theatre 31.3 (2001): 47-61. Print. Hundley, Douglas. Theatre of the Oppressed: an American Tradition? Platform 1.1 (2006): 18-30. Print. Sadler, Katelyn. Art As Activism and Education: Creating Venues for Student Involvement and Social Justice Education Utilizing Augusto Boal’s Theatre of the Oppressed. The Vermont Connection 31 (2010): 82-95. Print. Read More