Aesthetics of the Opressed by Augusto Boal

By Augusto Boal

Augusto Boal's workshops and theatre workouts are popular in the course of the international for his or her life-changing results. eventually this significant director, practitioner, and writer of many books on group theatre speaks out concerning the matters most crucial to him – the sensible paintings he does with varied groups, the consequences of globalization, and the artistic percentages for we all.

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Aesthetics of the Opressed

Augusto Boal's workshops and theatre routines are popular through the global for his or her life-changing results. finally this significant director, practitioner, and writer of many books on neighborhood theatre speaks out concerning the topics most vital to him – the sensible paintings he does with diversified groups, the consequences of globalization, and the inventive probabilities for we all.

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The participant intervenes to change reality, as when the cave painters painted bisons, bears and mammoths in their caves with the same intention. Though I have no eye-witness testimony I would swear that the rest of the cave dwellers gathered around the painter to study alongside him the ways of attacking these wild beasts; the painting stimulated mimicry, theatre, dance. Painting and sculpture are ways of restructuring the world, of reinventing it. It is no surprise that painters and sculptors should feel god-like, since they remake and correct the world of the divinity.

Chess champions study classical music to imagine creative strategies. Einstein played the violin when he could make no progress with his mathematical labours, and returned to mathematics when he found the necessary stimulus in the chords of his violin. Music is the sound of mathematics. It is mathematics refined into sounds. The Aesthetic Neurons are the most important of all the neurons of the nervous system, according to the hypothesis that, within them, the senses coexist with reason, the concrete with the abstract.

But to develop our own identity. We are what we do, and if we make or do only what others have invented, we will be a copy of others, not ourselves. The knowledge of the culture of other people and other times, or of finished works of art, is important for all of us, however far removed it may seem. The young people of a poor community who learn to dance the waltz with Austrian rigour, or a fine minuet with French elegance, are learning something and are being aesthetically stimulated, although the ‘nobility and equilibrium of the movements’35 of this dance have nothing to do with their daily lives.

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