Theatre of the oppressed is a term that was coined in the nineteen-sixties by the brazilian theatre practitioner Augusto Boal. The Theatre of the Oppressed was developed in 20th century Brazil, which was a time of economic crisis, uncertainty and disorder. It was an attempt for Boal to create a socially responsive, academically stimulating and relevance orientated theatre in an atmosphere of terminating conditions and social injustice, in order to efficiently examine the work of Boal, it is essential to take into account the climate in which it was born (Babbage 2004: 2).
There is an obvious reference in Boal’s work to Berlot Brecht’s Epic Theatre proposal as well as his Brechtion dramaturgy. Brecht’s influence does not conclude that Boal …show more content…
Freire emphasizes the importance of treating the learner as a co-creator and that the learner is a not only a blank slate ready for new knowledge to write on them, but also consisting of knowledge gained from past experiences that are of equal importance of any new knowledge. Freire stresses that the role of the teacher is not to push their knowledge onto the learner, but rather to share what they know with the learner and be open to what knowledge they can receive in return. This concept suggests that both the teacher and learner have knowledge to share and that they are of equal …show more content…
A fundamental aspect of Freire’s ‘Pedagogy of the Oppressed’ is his focus on conscientization. Conscientization was developed as a result of Marxist’ critical theory and is a concept involving social interactions as well as society itself. It is primarily grounded on the development of a consciousness and this developments role in creating the ability to transform the social surroundings as well as the social issues embedded in the world. Furthermore, it aims to create a deepened recognition of how the world works and is constructed. Through this deepened recognition, there becomes an acquirement of the ability to distinguish and reveal certain social and political inconsistencies (Schreiner, Banev & Oxley 2005:
There is an obvious reference in Boal’s work to Berlot Brecht’s Epic Theatre proposal as well as his Brechtion dramaturgy. Brecht’s influence does not conclude that Boal …show more content…
Freire emphasizes the importance of treating the learner as a co-creator and that the learner is a not only a blank slate ready for new knowledge to write on them, but also consisting of knowledge gained from past experiences that are of equal importance of any new knowledge. Freire stresses that the role of the teacher is not to push their knowledge onto the learner, but rather to share what they know with the learner and be open to what knowledge they can receive in return. This concept suggests that both the teacher and learner have knowledge to share and that they are of equal …show more content…
A fundamental aspect of Freire’s ‘Pedagogy of the Oppressed’ is his focus on conscientization. Conscientization was developed as a result of Marxist’ critical theory and is a concept involving social interactions as well as society itself. It is primarily grounded on the development of a consciousness and this developments role in creating the ability to transform the social surroundings as well as the social issues embedded in the world. Furthermore, it aims to create a deepened recognition of how the world works and is constructed. Through this deepened recognition, there becomes an acquirement of the ability to distinguish and reveal certain social and political inconsistencies (Schreiner, Banev & Oxley 2005: