Theatre of the Oppressed

The Theatre of the Oppressed (TO) describes theatrical forms that the Brazilian theatre practitioner Augusto Boal first elaborated in the 1970s, initially in Brazil and later in Europe. Boal was influenced by the work of the educator and theorist Paulo Freire. Boal's techniques use theatre as means of promoting social and political change. In the Theatre of the Oppressed, the audience becomes active, such that as "spect-actors" they explore, show, analyse and transform the reality in which they are living.

The Theatre of the Oppressed, a term coined by Augusto Boal, is a series of theatrical analyses and critiques developed in the 1950s. Boal is an avid supporter of utilizing interactive techniques, especially in the context of theatre. Many of his ideas are considered as "a new media perspective", despite the relatively early birth of these ideas. Since then, these ideas have been developed more, giving them meaning in a modern-day context. The creation of the Theatre of the Oppressed is largely based on the idea of dialogue and interaction between audience and performer. Moreover, these ideas have served as a framework for the development and evolution of stronger ideas.

Much of Augusto Boal's theatrical process requires a neutral party to be at the centre of proceedings. This individual is usually called the "facilitator". In Boal's literature this role is referred to as the "joker", in reference to the neutrality of the Joker card in a deck of playing cards.

In most cases, but not all, this would be a drama workshop leader. This person takes responsibility for the logistics of the process and ensures a fair proceeding, but must never comment upon or intervene in the content of the performance, as that is the province of the "spect-actors".

This is a term created by Augusto Boal to describe those engaged in Forum theatre. It refers to the dual role of those involved in the process as both spectator and actor, as they both observe and create dramatic meaning and action in any performance.

Equally, the term "spect-actor" can be attributed to the participants in invisible theatre (who are unaware that they are part of a theatrical production, but nevertheless contribute to the discussion) and image theatre (who, upon viewing the image created, may alter it to reflect their own ideas).

Boal emphasizes the critical need to prevent the isolation of the audience. The term "spectator" brands the participants as less than human; hence, is necessary to humanize them, to restore to them their capacity for action in all its fullness. They must also be a subject, an actor on equal plane with those accepted as actors, who in turn must also be spectators. This will eliminate any notions of the ruling class and the theatre solely portraying their ideals while the audience members are the passive victims of those images. This way the spectators no longer delegate power to the characters either to think or act in their place. They free themselves; they think and act for themselves. Boal supports the idea that theatre is not revolutionary in itself but is rehearsal of revolution. (Wardrip-Fruin, 352)

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