A Quote by Augusto Boal

When does a session of The Theatre of the Oppressed end? Never - since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.
The Theatre of the Oppressed is theatre in this most archaic application of the word. In this usage, all human beings are Actors (they act!) and Spectators (they observe!).
With the establishment of a relationship of oppression, violence has already begun. Never in history has violence been initiated by the oppressed. How could they be the initiators, if they themselves are the result of violence? How could they be the sponsors of something objective whose objective inauguration called forth their existence as oppressed? There would be no oppressed had there been no prior of violence to establish their subjugation.
Policies change, and programs change, according to time.But objective never changes. You might change your method of achieving the objective, but the objective never changes. Our objective is complete freedom, complete justice, complete equality, by any means necessary
At the end of the day it doesn't matter which group is most oppressed or whether they are identically oppressed, what matters is that no group be oppressed.
Before I worked on film, I studied the theatre, and I expected that I would spend my whole career in theatre. Gradually, I started writing for the cinema. However, I feel grateful towards the theatre. I love working with spectators, and I love this experience with the theatre, and I like theatre culture.
Wars are fought to gain a certain objective. War itself is not the objective; victory is not the objective; you fight to remove the obstruction that comes in the way of your objective. If you let victory become the end in itself then you've gone astray and forgotten what you were originally fighting about.
There are two kinds of theatre, good and bad. Much as I should like to see theatre in America, I would rather have no theatre than bad theatre. What we must strive for is perfection and come as close to it as is humanly possible.
Philosophy which does not help to illuminate the process of the liberation of the oppressed should be rejected.
The 'Grace of Kings' begins as a very dark, complicated world filled with injustices - among them the oppressed position of women - but gradually transforms into something better through a series of revolutions. But since real social change takes a long time, even by the end of the book, only the seeds of deep change have been planted.
My philosophy is such that I am not going to vote against the oppressed. I have been oppressed, and so I am always going to have avote for the oppressed, regardless of whether that oppressed is black or white or yellow or the people of the Middle East, or what. I have that feeling.
The real writing of a piece comes only when you are performing it. It is why I like theatre. In film and TV, the image is locked forever, but in theatre, there is constant change; each performance is part of the writing process.
It is simply not true that war is solely a means to an end, nor do people necessarily fight in order to obtain this objective or that. In fact, the opposite is true: people very often take up one objective or another precisely in order that they may fight.
In 1973, 'Sizwe Banzi is Dead' and 'The Island,' which I co-wrote with Athol Fugard and Winston Ntshona, transferred from The Royal Court Theatre to the Ambassadors Theatre in the West End.
The object of a dialogical-liberterian action is not to 'dislodge' the oppressed from a mythological reality in order to 'bind' them to another reality. On the contrary, the object of dialogical action is to make it possible for the oppressed, by perceiving their adhesion, to opt to transform an unjust reality." "In order for the oppressed to unite they must first cut the umbilical cord of magic and myth which binds them to the world of oppression; the unity which links them to each other must be of a different nature.
Critical and liberating dialogue, which presupposes action, must be carried on with the oppressed at whatever the stage of their struggle for liberation. The content of that dialogue can and should vary in accordance with historical conditions and the level at which the oppressed perceive reality.
Women are oppressed in the east, in the west, in the south, in the north. Women are oppressed inside, outside home, a woman is oppressed in religion, she is oppressed outside religion.
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