Games for Actors and Non-actorsThis is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal, including new discussions, a new introduction and a collection of images.Games for Actors and Non-Actors is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone - actors and non-actors alike!This thoroughly updated and substantially revised second edition includes:* Two new essays by Boal on major recent projects in Brazil* Boal's description of his work with the Royal Shakespeare Company* A revised introduction and translator's preface* A collection of photographs taken during Boal's workshops, commissioned for this edition* New reflections on Forum Theatre |
Contents
The Royal Shakespeare Company | 1 |
the fable of XuaXua the prehuman | 11 |
THEATRE OF THE OPPRESSED IN EUROPE | 18 |
THE STRUCTURE OF THE ACTORS WORK | 29 |
THE ARSENAL OF THEATRE OF THE OPPRESSED | 48 |
one leader one follower | 52 |
one to one | 53 |
Colombian hypnosis | 54 |
What has changed? | 144 |
Animals | 145 |
Professions | 146 |
The balancing circle | 147 |
The Indian in the city the city dweller in the forest | 148 |
Follow two masters who metamorphose into each other | 149 |
Collective creation of a mask | 150 |
Changing masks | 151 |
Colombian hypnosis | 55 |
Minimum surface contact | 56 |
Minimum surface contact | 57 |
seesaw | 58 |
back to back | 59 |
Pushing against each other bottom to bottom | 61 |
The Greek exercise | 64 |
The Greek exercise | 65 |
walks | 70 |
Slow motion | 71 |
At a right angle | 72 |
Monkey | 73 |
Strappedfeet walk | 74 |
In a circle | 75 |
The rolling carpet | 76 |
Back massage | 77 |
The bear of Poitiers | 78 |
Leapfrog | 79 |
Stick in the mud | 80 |
Apple dance | 81 |
American football aka British bulldog | 82 |
Little packets | 83 |
Homage to Tex Avery cat and dogs | 84 |
Good day | 85 |
The parachute | 86 |
Horizontality sequence | 87 |
Verticality sequence | 88 |
Sequence of rectilinear and circular movements | 89 |
LISTENING TO WHAT WE HEAR | 92 |
Game of rhythm and movement | 93 |
The machine of rhythms | 94 |
Machine of rhythms | 95 |
The Peruvian ball game | 96 |
The clapping series | 97 |
West Side Story | 98 |
The Portuguese rhythmic shoes | 99 |
The two brooms | 100 |
The four brooms | 101 |
Rhythm dialogue in teams | 102 |
Dialogue of rhythms | 103 |
Lines of five | 104 |
Bolivian mimosas | 105 |
How many As in a single A? | 106 |
melody | 108 |
Lying on their backs on tables | 114 |
The imaginary journey | 117 |
The glass cobra | 118 |
The magnet positive and negative | 119 |
Swedish multiple sculpture | 120 |
The blind car | 121 |
The smell of hands | 122 |
Draw your own body | 123 |
Modelling clay | 124 |
The blind person and the bomb | 125 |
Find a convenient back | 126 |
The sound of the seven doorways | 127 |
Instead of simply saying Stop the Joker says a number | 128 |
The participants touch each other | 129 |
The plain mirror | 130 |
Everyone joins hands | 131 |
The two lines form a curve | 132 |
The mirror breaks | 133 |
The distorting mirror | 134 |
The rhythmic mirror | 135 |
The modelling sequence | 136 |
The sculptor doesnt touch the model | 137 |
The sculptors spread out around the room | 138 |
String puppet | 139 |
Ball games | 140 |
Boxing match | 141 |
Furnish the empty space | 142 |
Building character relations | 143 |
The masks of the actors themselves | 152 |
Substitution of mask | 153 |
Changing a whole set of masks into a different social class | 154 |
Making the mask allencompassing | 155 |
Changing actors midritual | 156 |
The game of complementary roles | 157 |
Exchange of roles | 158 |
The clown of Amsterdam | 159 |
The image of the object | 160 |
The object transformed | 161 |
The invention of space and the spatial structures of power | 162 |
Games involving the creation of characters | 165 |
THE MEMORY OF THE SENSES | 171 |
illustrating a subject using other peoples | 181 |
Multiple image of happiness | 189 |
Image of the group | 191 |
Ritual gesture | 193 |
Ritual | 198 |
Rituals and masks | 201 |
The kinetic image | 202 |
Images of transition the technique in action | 203 |
the cop in the head | 206 |
Dissociation thought speech action | 207 |
the multiple mirror of how others see us | 208 |
Somatisation | 211 |
The three wishes | 212 |
The polyvalent image | 213 |
The image of the image | 214 |
Four very simple demonstrations of embryos of Forum Theatre pieces based on projected images | 215 |
REHEARSAL EXERCISES FOR ANY KIND OF PLAY | 217 |
The dark room | 219 |
One line spoken by several actors | 220 |
The oppressors confession | 222 |
Abstract emotion with animals | 223 |
Ritual in which everyone becomes an animal | 224 |
Ideological warmup | 225 |
The evocation of historic events | 226 |
Stop Think | 227 |
The reconstruction of the crime | 228 |
Analytical rehearsal of emotion | 229 |
Artificial pause | 230 |
Rehearsal of the cue | 231 |
Silence on set Action | 232 |
Slow motion | 233 |
Exaggeration | 234 |
Caricature | 235 |
The rhythm of scenes | 236 |
Keep talking | 237 |
THE EARLY FORMS OF FORUM THEATRE | 241 |
DOUBTS AND CERTAINTIES | 253 |
Do we have to arrive at a solution or not? | 259 |
The function of the actor | 265 |
The repeated scene | 266 |
How to replace a character without transforming it into another | 267 |
What is a good oppression? | 268 |
Who can replace whom? | 269 |
How should a model be rehearsed? | 271 |
Can a forum change themes? | 273 |
Can people remain spectators in a Forum Theatre session? | 274 |
When does a session of Theatre of the Oppressed end? | 275 |
FIRST EXPERIENCES WITH INVISIBLE THEATRE | 277 |
Queen Silvias baby | 280 |
the Greek | 282 |
the black woman | 283 |
Picnic in the streets of Stockholm | 285 |
The audiences children | 287 |
A MEDITATION ON ART AND THE MIRACULOUS | 289 |
Passion and art | 293 |
The mad artist and the artist madman | 296 |
THE PEDAGOGY OF FEAR THEATRE AND THE TWIN TOWERS AN ESSAY AFTER 11 SEPTEMBER 2001 | 298 |
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Common terms and phrases
action actor Adrian Jackson animals anti-model arms audience Augusto Boal blind Boal body Brazil chair character circle counter-will dialogue dynamisation emotion everything example exercise expressionism eyes Fabián Silbert facing feel Fernando Pessoa Forum Theatre front gesture give Godrano goes ground Hamlet variation hands happen happy idea Image Theatre important improvisation Invisible Theatre Joker asks Joker says legs look Maieutics mask means mechanised minutes mirror move movements object opposite oppression pairs Paris Métro participants particular partner passion person physical piece play possible protagonist rehearsal rhythm rhythmic Rio de Janeiro ritual role São Paulo scene sculptor sequence shout sitting social social code solution someone sound spect-actors stage standing starts stop technique Theatre techniques theatrical thing touching walk watching whole woman women words workshop leader young