Analysis Of Augusto Boal's Theatre Of The Oppressed For Civilization

1952 Words 8 Pages
Theatre of the Oppressed for Immigration/acculturation
English presents an obstacle for many immigrants to their education and career goals. In the context of immigration and acculturation, an overview starts with immigration as a global human phenomenon. “Throughout history, individuals and groups have moved and resettled in other places, for a myriad of reasons from war to famine, from seeking refuge to seeking employment.” (Kağitçibaşi, 314) Acculturating immigrant families in our community face political tensions, intergenerational conflict, and language barriers. People emigrating to Anchorage face negative stereotypes, social distance, and discrimination as barriers to a positive acculturation experience. My proposed program seeks to
…show more content…
Boal’s practice originated as an overtly political theatre in his native Brazil during the 1950s, where Boal used drama as a means of activating citizens to transform the social oppression they faced. Boal acknowledged theatre as an inherently political practice, and he resisted traditional, Aristotelian-based cathartic productions because they tend to demobilize audiences. Boal claimed that those who try to separate the theater from politics try to lead us into error, which is a political attitude (Boal, Leal-McBride, Leal McBride, & Fryer, 2008, p. i). Theatre of the Oppressed recognizes theatre as a viable weapon of social critique, transformation, or propaganda. At its core, TO is also a problem-solving performance practice. Boal’s fundamental objective is to use performance to initiate change: the theatre can also be a weapon of liberation. For that, it is necessary to create appropriate theatrical forms. Change is imperative (Boal et al., 2008, p. …show more content…
Freire’s pedagogy of literacy education involves not only reading the word but also reading the world. This involves the development of critical consciousness (a process known in Portuguese as conscientização). The formation of critical consciousness allows people to question the nature of their historical and social situation—to read their world—with the goal of acting as subjects in the creation of a democratic. For education, Freire implies a Dialogic exchange between teachers and students, in which both learn, both question, both reflect and both participate in meaning-making. Concretely, this pedagogy begins with the teacher mingling among the community, asking questions of the people and gathering a list of words used in their daily lives. The teacher’s goal is to begin to understand the social reality of the people and develop a list of generative words and themes which could lead to discussion in classes, or “cultural circles” (Leonard & McLaren, 2002). By making words (literacy) relevant to the lives of people, the

Related Documents