By Mady Schutzman, Jan Cohen-Cruz
This conscientiously built and thorough number of theoretical engagements with Augusto Boal’s paintings is the 1st to appear ’beyond Boal’ and significantly assesses the Theatre of the Opressed (TO) circulation in context. A Boal better half appears on the cultural practices which tell TO and discover them inside a bigger body of cultural politics and function concept. The participants positioned TO into discussion with complexity theory – Merleau-Ponty, Emmanuel Levinas, race concept, feminist functionality paintings, Deleuze and Guattari, and liberation psychology – to call quite a few, and in doing so, the kinship among Boal’s undertaking and a number of fields of social psychology, ethics, biology, comedy, trauma stories and political technology is made noticeable. the tips generated all through A Boal significant other will: extend readers' realizing of TO as a fancy, interdisciplinary, multivocal physique of philosophical discourses supply numerous lenses by which to perform and critique TO make specific the connection among TO and different our bodies of labor. This assortment is perfect for TO practitioners and students who are looking to extend their wisdom, however it additionally offers surprising readers and new scholars to the self-discipline with an exceptional learn source.
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Extra info for A Boal Companion: Dialogues on Theatre and Cultural Politics
1994) Antunes Filho e a Dimensão Utópica. São Paulo: Editora Perspectiva. Peixoto, F. (1989) Teatro em Movimento, 3rd edition, São Paulo: Editora HUCITEC. V. L. (1999)  De sonho ao pesadelo: Da revolta dos estudantes ao ﬁm das liberdades democráticas. São Paulo: Grupo o Estado de São Paulo. E. (1999) Brazil: Five centuries of change. New York and Oxford: Oxford University Press. Veloso, C. (2003) Tropical Truth: A story of music and revolution in Brazil, trans. I. De Sena. New York: Da Capo Press.
PEDAGOGY Critical interventions The meaning of praxis Deborah Mutnick Against the backdrop of “Operation Iraqi Freedom” in March 2003, I started this chapter on critical pedagogy for A Boal Companion. As the editors prepare the volume to go to press, more than a year and a half later, the US occupation of Iraq continues and the sense of horror invoked by “Shock and Awe” has deepened, as scenes of barbarism—US torture of Iraqi prisoners and terrorist beheadings—multiply. 1 And so we have endless war abroad and increasing repression at home.
Though we might read the statement “to speak a true word is to transform the world” as hyperbole or metaphor, it resonates with an idealism not unlike that which obliged Marx to stand Hegel on his head, insisting that material reality determines consciousness, not vice versa. To provide a context for my discussion of praxis, let me return to my reference to the war in Iraq and quickly sketch out the scene at my university in Brooklyn, New York, in March 2003. In the midst of the military build-up, a graduate student teaching a ﬁrst-year writing course in the English Department asked if we could hold a departmental discussion on how to teach about the impending war.