A Brief Biography of Augusto Boal
by Doug Paterson(Current: 11/05)
Brazilian Dr. Augusto Boal was raised in Rio de Janeiro. He was formally trained in chemical engineering and attended Columbia University in the late 1940's and early 1950's. Although his interest and participation in theatre began at an early age, it was just after he finished his degree at Columbia that he was asked to return to Brazil to work with the Arena Theatre in São Paulo. His work at the Arena Theatre led to his experimentation with new forms of theatre that would have an extraordinary impact on traditional practice.
Birth of the Spect-Actor
Prior to his experimentation, and following tradition, audiences were invited to discuss a play at the end of the performance. In so doing, according to Boal, they remained viewers and "reactors" to the action before them. In the 1960's Boal developed a process whereby audience members could stop a performance and suggest different actions for the character experiencing oppression, and the actor playing that character would then carry out the audience suggestions. But in a now legendary development, a woman in the audience once was so outraged the actor could not understand her suggestion that she came onto the stage and showed what she meant. For Boal this was the birth of the spect-actor (not spectator) and his theatre was transformed. He began inviting audience members with suggestions for change onto the stage to demonstrate their ideas. In so doing, he discovered that through this participation the audience members became empowered not only to imagine change but to actually practice that change, reflect collectively on the suggestion, and thereby become empowered to generate social action. Theatre became a practical vehicle for grass-roots activism.
Boal as a Threat
Because of Boal's work, he drew attention as a cultural activist. But the military coups in Brazil during the 1960's looked upon all such activity as a threat. Walking home from an Arena performance of Brecht’s The Resistible Rise of Arturo Ui Boal directed in 1971, Boal was kidnapped off the street, arrested, tortured, and eventually exiled to Argentina, then self-exiled to Europe. In Argentina in 1973 he published his first major theatre text, The Theatre of the Oppressed (Routledge Press). While in Paris, Boal continued for a dozen years to teach his revolutionary approach to theatre, establishing several Centers for the Theatre of the Oppressed. In 1981 he organized the first International Festival of the Theatre of the Oppressed in Paris.
Return to Rio
Following the removal of the military junta in Brazil, Boal returned to Rio de Janeiro in 1986 where he continues to reside. He has established a major Center for the Theatre of the Oppressed there (CTO - Rio) and has formed over a dozen companies which develop community-based performances. The vehicles for these presentations are primarily Forum Theatre and Image Theatre. Forum Theatre relies upon presentation of short scenes that represent problems of a given community such as gender for a conference on women or racial stereotyping for a class on racism. Audience members interact by replacing characters in scenes and by improvising new solutions to the problems being presented. Image theatre uses individuals to sculpt events and relationships sometimes to the accompaniment of a narrative.
Boal at ATHE
In 1992, Boal was invited to be the keynote speaker for the National Conference of the Association for Theatre in Higher Education (ATHE) in Atlanta, Georgia. This is the national association for teachers of theatre in higher education in the United States, with international connections to Canada, Europe, South America, Australia, increasingly Asia, and recently Africa. His address, together with three 5-hour long workshops during the conference, infused the participants with both a workable understanding of how to take the approaches to their schools and communities and a desire to actually use the techniques. Few other names now appear as often as Boal's in the annual conference program.
Second Book Published
In 1992, Boal also published his second major work, Games for Actors and Non-Actors (Routledge Press). This is a splendid basic introduction to the entire range of TO theory and practice, and is useful to people experienced and inexperienced in theatre making.
Boal as Politician; Festival of TO
In the fall of 1992, Boal ran as an at-large candidate for the position of Vereador of Rio, a position similar to a City Council seat in the United States. Over one thousand candidates ran for forty-five seats; Boal was one of those elected. Because of the increased visibility brought about by his winning a seat, he was able to obtain funding to hold an international festival for the first time in Brazil in July, 1993. The Seventh International Festival of the Theatre of the Oppressed attracted one hundred, fifty Theatre of the Oppressed practitioners from around the world in an extraordinary confluence of languages, theatre styles, and social issues. The Eighth such Festival was called the Ripple Effect sponsored by Mixed Company Theatre in Toronto, Canada, and was held from May 29 to June 8, 1997. Three hundred practitioners again from around the world attended. One of the featured performances was by the company Boal directs in his hometown, the CTO - Rio. This performance and the magnanimity of the CTO-Rio group was one of the true highlights of this extraordinary gathering.
Boal in Omaha: Pedagogy & Theatre of the Oppressed Conference
1994 saw Boal's first arrival in Omaha, Nebraska, as he presented an "introductory" workshop to students, faculty, and regional social service personnel. In 1995 Boal keynoted the Pedagogy of the Oppressed Conference sponsored by the University of Nebraska at Omaha and presented numerous community and educational workshops demonstrating his theatrical approaches. At this same time, Boal's third major book, The Rainbow of Desire (Routledge Press), was published, which elaborates a psycho-therapeutic application of the Boal techniques, especially Image Theatre.
Boal & Freire
Over many years, Boal continued to strengthen his relationship with liberatory educator, Paulo Freire, author of the acclaimed Pedagogy of the Oppressed. At the Second Annual Pedagogy of the Oppressed Conference in Omaha in March 1996, both men appeared together on a public platform to reflect on liberatory education and to answer questions from an audience of around one thousand people. Because of their several necessary flights for personal and family safety during the 1960's - 1980's, this co-appearance was the first time Augusto Boal and Paulo Freire shared a common public stage. Sadly, Paulo Freire passed away in early May, 1997. Said Boal: "I am very sad. I have lost my last father. Now all I have are brothers and sisters." The Third Annual Conference of Pedagogy & Theatre of the Oppressed was held in mid-May, 1997, where Boal led workshops in Forum Theatre. Several of the pieces developed kicked off the Conference with much interaction, reflection, action, and discussion from the conference attendees. Boal also concluded the Conference with an image exercise which amounted to a fascinating visual "critique" of the Conference itself.
Legislative Theatre
Though he lost his bid for re-election in the fall of 1996, while in office, Vereador Boal developed a Forum type of theatre -- which he called Legislative Theatre -- to work at the neighborhood level to identify the key problems in the city. Using the Forum concept, he employed the dynamics of theatre to discuss what kinds of legislation needed to be enacted to address community problems. The resulting discussions and demonstrations became the basis for actual legislation put forward by Boal in the Chamber of Vereadors. Not surprisingly, Boal has summarized these discoveries and processes in Legislative Theatre, published by Routledge in 1998.
Boal in England
The summer of 1997 found Boal in England where he worked with the world-renowned Royal Shakespeare Company. The RSC asked Boal to employ his Rainbow of Desire techniques in working with them on a production of Hamlet. Typical of Boal, he is not interested in the central story but in the characters who are usually cut from the play, and thus imagined a text of the marginal characters, the ones without much power. He says it might be similar to the national dish of Brazil which is based on a stew made by slaves of the leavings from the masters table.
ATHE Award
In August, 1997, Boal was awarded the Career Achievement Award by the Association for Theatre in Higher Education during their national conference in Chicago. At the Conference, Boal conducted yet another of his five-hour workshops for conference attendees as well as received the coveted Career Achievement honor.
Boal's International and US Travels
Traveling
extensively between Rio, Europe, Africa, Asia, and Australia, and North America,
Boal labors tirelessly to make his processes available to as many people as he
can reach. December 1998 found him in England offering his remarkable
Legislative Theatre not only as a model of public performance, but as a
communication network on the Internet. For this reason, the entire performance
day was on-line on the World Wide Web so that people around the world could
respond.
Boal went on a first major
tour of the US in February and March, 1999, traveling to the following
universities and colleges: New College in Sarasota, FL; Vassar; Dartmouth; Colby
College; University of Georgia; Florida State; and Kansas State. New College,
Dartmouth, and Kansas State, and perhaps others of these, now have student TO
companies working regularly on Boal techniques.
Since then he has toured to the US every spring, anchoring
his tours on the annual Pedagogy and Theatre of the Oppressed Conference and
then giving workshops and presentations in many US and Canadian cities – Los
Angeles, Santa Barbara, San Francisco, Seattle, Denver, Omaha, Minneapolis,
Chicago, Milwaukee, Toledo, Toronto, New York City, Boston, Peoria IL, Worcester
MA, and Bowling Green OH.
The objective
is always to leave behind at least a core of people who can offer Boal-style
workshops, analysis, and ideas. Hopefully there are hundreds and even thousands
of people carrying out this liberatory approach to community animation.
Upcoming US Tour
As of this writing, the Boal tour for spring 2006 includes
stops in Seattle WA (2nd week of May), Chapel Hill NC (mid-month), and New York
City (c. May 20 – 25). Doug Paterson coordinates Boal's visits to the US.
Interested parties should contact Doug through this email link or by calling him
at 402-554-2422 at the University of Nebraska at Omaha.
From May 15 – 17, Boal, assisted by his son Julian, will
present what promises to be a ground-breaking workshop. Participants will
use Rainbow of Desire techniques to discover subjects for community dialogue,
and then develop Forum scenes from those Rainbow techniques. The Forum
pieces themselves will be presented the first night of the conference, Thursday,
May 18th. Also on May 18th, during the afternoon, Boal will offer a
one-day “trailer” workshop which is introductory in nature like the “trailer” of
a film.
Bibliography (not current – needs to be updated!)
Books by Augusto Boal
Boal,
Augusto. The Theatre of the Oppressed. New York: Urizen Books, 1979.
Republished by Routledge Press in New York/London in 1982.
----. Games for Actors and Non-Actors. New York:
Routledge Press, 1992,
----. The
Rainbow of Desire. New York: Routledge Press, 1995.
----. Legislative Theatre. New York: Routledge Press,
Fall 1998.
----. Hamlet and
the Baker’s Son. New York: Routledge Press, 2001.
Selected Articles by Augusto
Boal
Boal, Augusto. Categories du
theatre populaire. in: Travail theatral (1972)6, 3-26.
----. The Cop in the Head: Three Hypotheses. in: The Drama
Review. Fall 1990, 35-42.
----. Una
experiencia de teatro popular en el Peru. in: El teatro Latino Americano de
creacion colectiva. Habana: Casa de las Americas, 1978, 243-280.
----. Il y a plusieurs manieres de faire du
theatre populaire: je les prefere toutes. in: Travail theatral (1975) 18/19,
161-171.
----. Invisible theatre. in:
Adult Education and Development (1979), 12, 29-31.
----. El teatro popular. in: Teatro popular y cambio social
en America Latina: panorama de una experiencia / ed. by S. Gutierrez. San Jose:
Editorial universitaria Centroamericana (EDUCA), 1979, 43-65.
----. Theory and Practice of the 'Theatre of
the Oppressed.' in: Tot lering en vermaak: 9 manieren voor 10 jaar
vormingstheater / red. D. van Berlaer-Helle-mans en M. van Kerkhoven. Antwerpen:
Soethoudt. 1980, 83-90.
----.
"Vindicated: A Letter from Augusto Boal." in: The Drama Review, T-143, Fall,
1994, 35-36.
Selected Articles
and Books About Augusto Boal
Albuquerque, Severino-Joao. "Conflicting Signs of Violence in Augusto
Boal's Torquemada." in: Modern Drama , 29:3, Sept. 1986, 452-459.
Berry, Kevin. "The Other Side of the Tracks."
in: Times Educational Supplement. Oct. 29, 1993, 18(1).
Bisset, Judith I. "Victims and Violators: The Structure of
Violence in Torquemada." in: Latin American Theatre Review. 15:2, Spring 1982,
27-34.
Chamberlain, Franc, eds.
"Working Without Boal: Digressions and Developments in the Theatre of the
Oppressed." in: Contemporary Theatre Review: an International Journal. 3:1,
1995. Includes ten articles on the work of Boal. Authors: Frances Babbage, Steve
Ball, Alister Campbell, Lyn Ferrand, Andy Hickson, Mary Ann Hushlak, Tom Magill,
Nick Otty, and Chrissie Poulter.
Cohen-Cruz. "Boal at NYU: A Workshop and Its Aftermath." in: The Drama
Review. 34, Fall 1990, 43-49.
Cohen-Cruz, Jan, and Mady Schutzman. Playing Boal. New York, Routledge
Press: 1994.
Heritage, Paul. "The
Courage to Be Happy: Augusto Boal, Legislative Theatre, and the 7th
International Festival of the Theatre of the Oppressed." in:The Drama Review.
T-143, Fall, 1994, 25-36.
Lavender,
Andy. "Theatrical Utopia." in: New Statesmen & Society. 8, Jan. 20, 1995,
32.
Luzuriaga, Gerado. "Augusto Boal
and His Poetics of the Oppressed." in: Discurso: Revista de Estudios
Iberoamericanos. 8:1, 1990, 53-66.
Norden, Barbara. "The Cop in the Head." in: New Statesmen & Society.
5, Mar 27, 1992, 33 - 34.
Paterson,
Douglas L. "A Role to Play for the Theatre of the Oppressed." in: The Drama
Review. T - 143, Fall, 1994, 37-49.
Paterson, Douglas L. "We Are All Theater: An Interview with Augusto
Boal." in: High Performance. Summer, 1996, 72, 18-23.
Schutzman, Mady. "Activism, Therapy, or Nostalgia? Theatre
of the Oppressed in NYC." in:The Drama Review.. T - 143, Fall, 1994,
77-83.
Schutzman, Mady, and Jan Cohen
Cruz. "Theatre of the Oppressed Workshops with Women." in: The Drama Review. 34,
Fall 1990, 66-76.
Taussig, Michael, and
Richard Schechner. "Boal in Brazil, France, and the USA: An Interview with
Augusto Boal." in: The Drama Review. 34, Fall 1990, 50-65.