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Is the fundamental relationship between an actor and an audience an equal and active one, or is it a
situation that encourages passivity and division? This is the question at the heart of Augusto Boal's revolutionary
Theatre of the Oppressed, originally published in 1979. Boal, a Brazilian artist and activist, has written a work that
challenges the very premise of Western theater, starting with Aristotle and the first dramatists, and explores what
social constructs lie behind the traditional theater form. Then, having explained such often invoked (but rarely
scrutinized) terms as imitation, tragedy, and justice, he puts forward a new type of drama that bridges the
long-existing gap between theater and politics. Central to his thesis is an attempt to bring spectators into an active
role with the drama, encouraging them to comment on the social situations they see presented and suggest potentials for
change. Other chapters explore the writings of Hegel and Brecht, along with a lengthy analysis of one of the most
profound political thinkers to ever pen a play, Machiavelli and his bitter comedy Mandragola (
/exec/obidos/ASIN/0917974573/%24%7B0%7D ). Boal's book is a challenging one for American actors often politically naive
and heavily schooled in the traditions of Stanislavsky-based "naturalism," but this text is vital reading for activists,
progressives, and all artists trying to effect social change. --John Longenbaugh