By Mady Schutzman, Jan Cohen-Cruz
This conscientiously built and thorough number of theoretical engagements with Augusto Boal’s paintings is the 1st to appear ’beyond Boal’ and seriously assesses the Theatre of the Opressed (TO) circulate in context. A Boal significant other appears to be like on the cultural practices which tell TO and discover them inside of a bigger body of cultural politics and function concept. The participants positioned 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 undertaking and a number of fields of social psychology, ethics, biology, comedy, trauma experiences and political technological know-how is made noticeable. the guidelines generated all through A Boal significant other will: extend readers' knowing of TO as a fancy, interdisciplinary, multivocal physique of philosophical discourses offer various lenses wherein 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 offers unexpected readers and new scholars to the self-discipline with a great learn source.
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Additional resources for A Boal Companion: Dialogues on Theatre and Cultural Politics
Beyond oppression? In simple terms, those who make the rules hold the power, and yet it is hard to imagine a society run by rules alone. Rather, we could say that law is not the source of power or the impetus for social change, but is itself an expression of conﬂicting energies and capacities that it seeks to regulate, channel, and appropriate. The gambit of any oppositional politics is that recognition by the law begins to delineate the limitations of its very authority. Theatre of the Oppressed is a demonstration that the law can be interrupted, reversed, challenged.
Rather, we could say that law is not the source of power or the impetus for social change, but is itself an expression of conﬂicting energies and capacities that it seeks to regulate, channel, and appropriate. The gambit of any oppositional politics is that recognition by the law begins to delineate the limitations of its very authority. Theatre of the Oppressed is a demonstration that the law can be interrupted, reversed, challenged. The means to do this do not consist of law itself, nor even a sense of moral righteousness as useful as this last may be.
In other words, Marcuse shifts the focus of Marx’s critique of commodity fetishism as a historically speciﬁc product of capitalism to a view of alienation, depersonalization, fragmentation, and anaesthetization as universal conditions. According to the philosophy of historical materialism, socio-historical conditions determine consciousness. Although these conditions and the consciousness they produce are historically speciﬁc, they are often mistaken as timeless, universal realities. Hence, Marxist political critique and action are aimed at the material structures and conditions confronted in a particular epoch.
A Boal Companion: Dialogues on Theatre and Cultural Politics by Mady Schutzman, Jan Cohen-Cruz