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Pushing theatre of the oppressed tow...

Van Valin, Robert Chester.

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Pushing theatre of the oppressed toward a Theatre of Solidarity.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Pushing theatre of the oppressed toward a Theatre of Solidarity./
Author:	Van Valin, Robert Chester.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	52 p.
Notes:	Source: Masters Abstracts International, Volume: 78-02.
Contained By:	Masters Abstracts International78-02.
Subject:	Theater. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10127764
ISBN:	9781339857961

Pushing theatre of the oppressed toward a Theatre of Solidarity.
Van Valin, Robert Chester.

Pushing theatre of the oppressed toward a Theatre of Solidarity. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 52 p.

Source: Masters Abstracts International, Volume: 78-02.

Thesis (M.A.)--State University of New York at Buffalo, 2016.

This item must not be sold to any third party vendors.

In this thesis, I examine the challenges Boal and practitioners of Augusto Boal's Theatre of the Oppressed (TO) faced when working with heterogeneous communities in Europe and North America, and theorize new approaches to TO that could overcome them. I focus on two contemporary practitioners of TO, In Forma of Toronto and Marc Weinblatt of Seattle, who have adapted TO in ways that overcome the aforementioned challenges. Using ideas from both In Forma's multi-protagonist model of Forum Theatre and Weinblatt's "Theatre of the Oppressor," I propose a new approach to TO that I believe would better address these challenges while also teaching those with privilege how to recognize their own oppressive behavior and become allies to the oppressed. I begin by examining Boal's biggest influence, Bertolt Brecht, and the theoretical basis for TO. Having done so, I describe the structure of a typical TO workshop based on Boal's writing. Next, I closely analyze Forum Theatre, the most widely practiced technique of TO, looking at the challenges practitioners in Europe and North America faced. I then closely examine the work of In Forma and Weinblatt. I attended a workshop facilitated by In Forma and interviewed its two founding members to learn more about their model of Forum Theatre. I compare their model to Weinblatt's, and then use aspects from both of their work to propose my new model. I conclude by discussing the next steps needed to put my new model into practice. My new model, which I have called Theatre of Solidarity, aims to build a sense of solidarity among diverse participants of a TO workshop. It does so by focusing on the moral ambiguity present in scenes developed through Forum Theatre. Though these scenes traditionally feature one oppressor and one oppressed, my adaptation will allow for more characters, any of whom can be considered either oppressor or oppressed. Doing so allows for a deeper analysis of the scene. In addition to achieving Boal's original goal of teaching the oppressed how to overcome their oppressors, my model simultaneously teaches potential oppressors how to recognize and prevent their oppressive behavior while becoming allies to those with less privilege. Ideally, this method will help the participants understand one another better, fostering a shared sense of solidarity among them.

ISBN: 9781339857961Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Boal, Augusto

Pushing theatre of the oppressed toward a Theatre of Solidarity.
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520 $a In this thesis, I examine the challenges Boal and practitioners of Augusto Boal's Theatre of the Oppressed (TO) faced when working with heterogeneous communities in Europe and North America, and theorize new approaches to TO that could overcome them. I focus on two contemporary practitioners of TO, In Forma of Toronto and Marc Weinblatt of Seattle, who have adapted TO in ways that overcome the aforementioned challenges. Using ideas from both In Forma's multi-protagonist model of Forum Theatre and Weinblatt's "Theatre of the Oppressor," I propose a new approach to TO that I believe would better address these challenges while also teaching those with privilege how to recognize their own oppressive behavior and become allies to the oppressed. I begin by examining Boal's biggest influence, Bertolt Brecht, and the theoretical basis for TO. Having done so, I describe the structure of a typical TO workshop based on Boal's writing. Next, I closely analyze Forum Theatre, the most widely practiced technique of TO, looking at the challenges practitioners in Europe and North America faced. I then closely examine the work of In Forma and Weinblatt. I attended a workshop facilitated by In Forma and interviewed its two founding members to learn more about their model of Forum Theatre. I compare their model to Weinblatt's, and then use aspects from both of their work to propose my new model. I conclude by discussing the next steps needed to put my new model into practice. My new model, which I have called Theatre of Solidarity, aims to build a sense of solidarity among diverse participants of a TO workshop. It does so by focusing on the moral ambiguity present in scenes developed through Forum Theatre. Though these scenes traditionally feature one oppressor and one oppressed, my adaptation will allow for more characters, any of whom can be considered either oppressor or oppressed. Doing so allows for a deeper analysis of the scene. In addition to achieving Boal's original goal of teaching the oppressed how to overcome their oppressors, my model simultaneously teaches potential oppressors how to recognize and prevent their oppressive behavior while becoming allies to those with less privilege. Ideally, this method will help the participants understand one another better, fostering a shared sense of solidarity among them.
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