Boalian Theatre of the Oppressed Activities

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Boalian Theatre of the Oppressed Activities
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• 3- The Great Game of Power
• 1) a prep activity
• 2) table, 6 chairs, water bottle
• any object may be arranged in any way,
• but no object may be removed from the space
• PART
• each person comes up one at a time and
• tries to arrange the objects to make one
• the most powerful object
• PART II (Variations)
• many variations
• PART III (People in space)
• participants enter space--without moving
  anything-
• -and try to take the most powerful position

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4 - Image Theater (164 in Games, p. 77 of
Rainbow) STAGE 1 -form groups of 4-5 people -each
member must make image of an actual oppression
(realistic, symbolic, surrealistic, etc.), but
if must be felt true by the protagonist -protagoni
st sculpts the image and takes her position as
the oppressed -no lang. used by prog. only mirror
lang. (make gestures she wants reproduced) or
the lang. of modeling (like clay) translation
of image into words will destroy the polysemy of
event -protag. takes position in image and places
other participants as either allies or
oppressors
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STAGE 2 -large group assembles and each group
in turn goes on the aesthetic space -commentary
offered by others on the groups images
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FIRST DYNAMISATION INTERIOR MONOLOGUE (remain
immobile) -3 minutes of each actor in the image
to say everything that comes to mind about the
character they are playing SECOND DYNAMISATION
DIALOGUE (still immobile) -3 minutes of
dialogue (only speech - no movement
allowed) THIRD DYNAMISATION DESIRE IN ACTION -3
minutes (no words) of moving around trying to
show one another eachs desires
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5- Forum Theater (19 in Games) 1) must contain
at least one social or political error 2) should
combine visual spoken elements 3) set up as a
conventional play with spect-actors and a
protagonist 4) performance is played out once
then again with the help from the
audience 5) spect-actor may jump in at any point
and say stop! and suggest that they reenter the
scene as the new protagonist, wherever he or she
chooses 6) with one or more spect-actors in the
play, the oppressors (oppressive elements) get
more so in order to emphasize the difficulty of
achieving social change
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