overview
Communities around the world have been using Theatre of the Oppressed since its birth in 1971. I want to examine if the communities that used and are currently using Forum Theatre have experienced any kind of long term improvement as a direct result of the lessons learned in the forum. If not, did the forum offer at the very least a temporary solution? Through creating a network of communities worldwide, I hope to track audiences' responses to the forum experience in order to gauge if this type of performance inspires them to take immediate action.
In some cases, the immediate action that the community decides to take manifests itself physically. This often involves deciding to improve the infrastructure of a town, for example building a health clinic or a women's shelter. In other cases, the action taken cannot be seen physically, rather the performance inspires a more psychological change. I am very interested to see if the physical action creates longer lasting change than the psychological action.
In many cases, the actors that perform and lead the forum are theatre professionals that have been in Forum Theatre. However, it has also become a phenomenon for the central actors to be people who themselves have or are currently experiencing oppression. Boal himself writes, "From the beginning of my work with the Theatre of the Oppressed I have on many occasions been led to work with the oppressors in the midst of the oppressed, and also with some of the oppressed who were themselves oppressing others." (The Aesthetics of the Oppressed, Boal 103)
There have been shows performed entirely by homeless people, war refugees, and even prisoners. In these cases, the idea of taking action suddenly becomes all encompassing. These actors serve as a living statement that it is possible to take back one's voice and control of reality.
Theatre of the Oppressed and Forum Theatre are powerful tools that both foster important dialogue, and maintain artistic dignity. Boal writes, "I have sincere respect for those artists who dedicate their lives exclusively to their art - it is their right or their condition - but I prefer those who dedicate their art to life." (The Aesthetics of the Oppressed, Boal 107)
In some cases, the immediate action that the community decides to take manifests itself physically. This often involves deciding to improve the infrastructure of a town, for example building a health clinic or a women's shelter. In other cases, the action taken cannot be seen physically, rather the performance inspires a more psychological change. I am very interested to see if the physical action creates longer lasting change than the psychological action.
In many cases, the actors that perform and lead the forum are theatre professionals that have been in Forum Theatre. However, it has also become a phenomenon for the central actors to be people who themselves have or are currently experiencing oppression. Boal himself writes, "From the beginning of my work with the Theatre of the Oppressed I have on many occasions been led to work with the oppressors in the midst of the oppressed, and also with some of the oppressed who were themselves oppressing others." (The Aesthetics of the Oppressed, Boal 103)
There have been shows performed entirely by homeless people, war refugees, and even prisoners. In these cases, the idea of taking action suddenly becomes all encompassing. These actors serve as a living statement that it is possible to take back one's voice and control of reality.
Theatre of the Oppressed and Forum Theatre are powerful tools that both foster important dialogue, and maintain artistic dignity. Boal writes, "I have sincere respect for those artists who dedicate their lives exclusively to their art - it is their right or their condition - but I prefer those who dedicate their art to life." (The Aesthetics of the Oppressed, Boal 107)
The cast of this Theatre of the Oppressed NYC production is comprised entirely of homeless performers, and confronts issues of urban oppression. (Photo: Laura Turley)
Jana Sanskriti, an Indian Theatre of the Oppressed company, uses a combination of Image Theatre and Forum theatre to address rural and traditional issues such as oppressive patriarchal systems and politically charged violence.
Satyaranjan Pal, a leader of the Jana Sanskriti group from a lower-middle class agricultural household said, "When you have collaborated to produce something that has brought people happiness it is not so easy for politicians to incite you into violence against each other. You will think twice about stabbing someone who has become your friend. And this is the power of culture." (Mohan 1)
Satyaranjan Pal, a leader of the Jana Sanskriti group from a lower-middle class agricultural household said, "When you have collaborated to produce something that has brought people happiness it is not so easy for politicians to incite you into violence against each other. You will think twice about stabbing someone who has become your friend. And this is the power of culture." (Mohan 1)
