By Augusto Boal
Video games for Actors and Non-Actors is the vintage and top promoting publication by way of the founding father of Theatre of the Oppressed, Augusto Boal. It units out the foundations and perform of Boal's progressive technique, displaying how theatre can be utilized to remodel and unencumber everyone – actors and non-actors alike! This completely up-to-date and considerably revised moment variation comprises: new essays through Boal on significant fresh tasks in Brazil Boal's description of his paintings with the Royal Shakespeare corporation a revised advent and translator's preface a collection of photos taken in the course of Boal's workshops, commissioned for this variation new reflections on discussion board Theatre.
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He kept his distance, just looking. One day, Xua-Xua was sleeping. Li-Peng was curious, because he could not understand the relationship between Xua-Xua and her son, and he wanted to try to establish his own relationship with the boy. So when the boy awoke before his mother, Li-Peng attracted his attention, and the two of them went off together. From the start Li-Peng knew that he and the boy were two different bodies: the boy was ‘the other’ and not himself, not Li. Li-Peng taught Lig-Lig-Le how to hunt and ﬁsh, and the boy was happy.
All these experiments were done in precarious conditions, with little time: two weeks in Portugal, a week in Paris, two in Stockholm and ﬁve days in Godrano, a small Sicilian village near Palermo. In all of these places I was able only to explain the mechanics of the different techniques, without ever being in a position to carry out an in-depth analysis. Everywhere I tried to follow the same basic scheme. First came two days’ work integrating the group, with exercises and games, and discussions on the political and economic situation in Latin America, and on the nature of the popular theatre which exists in some of our countries.
What crimes? Silence. The actor playing the Ghost, after a medium-sized pause, replied: ‘I was a King: a King is forced into making wars. During the wars, soldiers inevitably commit many crimes. ’ No more questions. Yes, in order to use those techniques, actors must be good, creative and imaginative. Oh, yes! *** In cooperation with Paul Heritage and his People’s Palace Project based at Queen Mary College, University of London, we have started a Project of Theatre in Prisons – to be more precise, in thirty-seven prisons of the state of São Paulo.