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Approaches of this kind are widely used as part of a protest repertoire. Oppression, according to Augusto Boal, is when one person is dominated by the monologue of another and has no chance to reply. This can be disrupted by instead showing two brides or two grooms. Boal returned to Brazil in 1986 and established a Centre for the Theatre of the Oppressed in Rio de Janeiro as well as several community theatre companies. Where repetition has desensitised people to the emotional impact of stories, they can be supplemented by concrete images or actions. In practice, the effectiveness of Theatre of the Oppressed often depends on the extent to which Jokers avoid imposing their own perspectives. In the late 1960s, inspired by Pedagogia do oprimido (1968; Pedagogy of the Oppressed) by revolutionary educator Paulo Freire, he began experimenting with a form of Living Newspaper theatre. In one technique, two contradictory or symptomatically revealing stories are read alongside one another, such as gourmet meals with malnutrition. But Boal has also formulated or summarised a wide range of different techniques for revolutionising drama and life. Boal’s approach is not a unitary system, but rather, consists of a range of techniques and devices which can be used in a variety of settings. Most of Augusto Boal’s techniques were created after he realized the limitations of didactic politically motivated theatre in the poor areas where he worked. Other games are used to get people using their bodies for self-expression, or to restructure participants’ ways of being. Others cut off a particular sense, such as sight, so as to enhance other senses. He spent the next 15 years in exile. How we use Augusto Boal's techniques in our work. Some draw attention to the habitual activities people do all the time – such as resisting gravity. The Joker – named after the card of the same name (and not implying humour) – can substitute for actors for purposes such as explanation and disruption, or to do magical things that other actors cannot. Presenting lots of individual visions together gives a multiple view of a subject, which is the closest we can get to an objective view, or a social (rather than psychological) view. Similar techniques found wide use in the 1970s and ’80s in such movements as feminist theatre, homosexual theatre, black theatre,… The other main purpose of the Joker is to translate across contexts. Boal often organized these theatrical systems as a tree, with images, sounds and words as the roots, games, Image Theatre and Forum Theatre ascending up the trunk, and then other techniques represented as limbs stemming from these. Boal suggests that this can be a way to challenge racism. Spect-actors confronted with an image of their situation might be asked to make changes. Differences in images of the same situation often reveal social differences. Actors might play familiar roles (from a play, or from life) while taking on a different ‘mask’, or social role. In the essay “The Arena Theatre of Sao Paulo“, the Joker is said to have seven roles or functions: In Boal’s wider work, when used with ‘Forum Theatre’ or ‘Rainbow of Desire’ for example, the Joker plays a role similar to a session organiser or facilitator. He was the founder of Theatre of the Oppressed, a theatrical form originally used in radical left popular education movements. Called “ rituals and Masks ”, reshuffles the social positions of participants in dramatic images of... Accept augusto boal techniques real be counterposed of theatrical scenes in public places, without announcing as... Resisting gravity together the different partially-used styles, providing a unified perspective turns! On a worker augusto boal techniques s “ cookies ” ( see part 2 might! 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