Thesis (Ph. D.)--University of Virginia, 2003. / Includes bibliographical references (leaves 190-195). Also available online through Digital Dissertations.

Diss.--Literatur--Hamburg, 1981-1982. / Contient "Aquele que trabalha, é alguém ! quem ?," pièce-forum d'A. Boal. Bibliogr. p. 293-304.

Thesis (Ph.D.)--Tufts University, 2000. / Adviser: Downing Cless. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 216-223). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

In 1992, Augusto Boal, founder of the globally influential repertoire of performance techniques known as Theatre of the Oppressed, was elected as a vereador, essentially the equivalent of city councilor in Rio de Janeiro, Brazil. Boal and his office staff used theatre as their primary method for collecting citizen input about legislation. His term lasted from 1993 to 1997, and his office shepherded thirteen bills to their successful passage as law. This dissertation examines three twenty-first century Legislative Theatre projects, all drawing on techniques from Boal’s initial Legislative Theatre project but staged in North America. The case studies include Practicing Democracy, a 2004 production by Headlines Theatre in Vancouver, British Columbia, Canada, a project that directly engaged the Vancouver City Council; a Legislative Theatre workshop facilitated by Augusto Boal and his son Julian Boal as part of the pre-conference of the annual Pedagogy and Theatre of the Oppressed Conference in Omaha, Nebraska, in May 2008, an event that culminated with a performance in the Omaha City Council Chambers; and The Eye & Tooth Project: Forum Theatre on the Death Penalty, a 2009 workshop and performance in Austin, TX, exploring how participants could practice lobbying skills through theatre. With these three theatre processes as examples, I explain how using Forum Theatre as the primary method for Legislative Theatre constructs citizenship as a process of collective knowledge-building. These projects stage citizenship as a collaborative act through which citizens gather to teach each other about their experiences with policy. Each production differently constructs performance as a “think tank” epistemology—an embodied way of building and transferring knowledge about legislation. I describe how Legislative Theatre think tanks dismantle traditional discourses of “detached” expertise by constructing citizens themselves as experts. In the process of making these larger arguments, this dissertation also addresses a variety of practical questions useful for future practitioners of Legislative Theatre: How was each project designed? What were its goals? How did the creators apply performance toward those goals? How and why did they forge connections (or not) with lawmaking bodies? For what communities might the projects have been more or less accessible? / text

This thesis explores whether Augusto Boal’s Theatre of the Oppressed (TO) can help anomic communities, affected by deindustrialization and globalization, in the U.S. Midwest, specifically looking at Saginaw, MI. After presenting a paper at the American Symposium for Theatre Research (ASTR) conference in 2009, the author attended a Theatre of the Oppressed facilitator training in Port Townsend, WA under the direction of Marc Weinblatt. She then conducted her own Theatre of the Oppressed workshop in Saginaw, MI to analyze the abilities of Theatre of the Oppressed in an anomic community. Each experience is detailed and followed by the author’s conclusions and hopes for Theatre of the Oppressed in the Midwest.

136 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-03-07T15:43:37Z No. of bitstreams: 1 Sandra Maria Miranda Villa.pdf: 1242481 bytes, checksum: 906c8deca7cd2a82498b3655865ea585 (MD5) / Rejected by Fatima Cleômenis Botelho Maria (botelho@ufba.br), reason: Necessário colocar as palavras chaves que constam no texto original do autor. on 2013-04-05T16:01:32Z (GMT) / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-04-08T13:40:08Z No. of bitstreams: 1 Sandra Maria Miranda Villa.pdf: 1242481 bytes, checksum: 906c8deca7cd2a82498b3655865ea585 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-04-09T12:52:35Z (GMT) No. of bitstreams: 1 Sandra Maria Miranda Villa.pdf: 1242481 bytes, checksum: 906c8deca7cd2a82498b3655865ea585 (MD5) / Made available in DSpace on 2013-04-09T12:52:35Z (GMT). No. of bitstreams: 1 Sandra Maria Miranda Villa.pdf: 1242481 bytes, checksum: 906c8deca7cd2a82498b3655865ea585 (MD5) / A pesquisa trata do Teatro do Oprimido de Augusto Boal em sua vertente terapêutica e investiga as relações de aproximação e afastamento entre o método teatral boaliano e a psicoterpia psicodramática, levando em consideração as semelhanças percebidas em seus procedimentos práticos. Considera-se o efeito catártico, enquanto fenômeno pertencente ao campo da recepção teatral, como um possível ponto de convergência entre os métodos de teatro e terapia estudados. Desenvolve-se uma pesquisa do tema tendo como base os pensamentos defendidos por Cleise Mendes e Hans-Robert Jauss sobre o assunto e que se constituem em fundamentos teóricos para a afirmação da existência de um tipo de catarse no Teatro do Oprimido. Desenvolve-se um estudo teórico que inclui desde a trajetória histórica do Teatro do Oprimido e do Psicodrama até a pesquisa dos seus princípios e procedimentos, culminando com a análise de uma das técnicas que compõe a vertente terapêutica do Teatro do Oprimido. Busca-se não só o estabelecimento de relações entre os métodos, mas referências para o entendimento dos limites tênues entre teatro e terapia. Palavras-chave: Teatro do Oprimido. Vertente terapêutica. Espectador. Catarse. Psicodrama. / Universidade Federal da Bahia. Escola de Dança/Escola de Teatro. Salvador-Ba, 2011.

Virginia Polytechnic Institute and State University and Club Corporation of America collaborated on a multimedia-training project, Board of Governors: The Cornerstone of a Fine Private Club. This training sought to catalogue all existing support materials and articulate key philosophical and operational systems regarding relationships between Club Managers and the club's Board of Governors, which stands as the leading administrative body for philosophical and operational issues in individual private clubs. This analysis operates on two levels of investigation: 1) a case study that provides a rhetorical assessment of the development and contents of this training system, 2) based on this appraisal, an introduction of theoretical options regarding the development of training applications. Moreover, the theoretical exhortations of Michel Foucault and Augusto Boal provide a language to encourage a different modus operandi in the field of corporate training. By articulating the concept of a "dialogue training continuum," this elucidation strives to offer an alternative when rethinking training systems and their encoded discourses. By analyzing local and institutional knowledges and how those knowledges find shape in this project, this analysis argues that establishing a system where end-users may question and reshape the philosophical discourse of the company during the context of training, the overall milieu has the ability to grow and shape-shift through legitimizing and valuing the voices of all organizational constituents. / Master of Arts

Paauglių mokymas/is spręsti jiems aktualias problemas, taikant Forumo teatro metodą, Lietuvoje yra netyrinėta mokslinėje literatūroje tema. Tyrimo tikslas - atskleisti, kokios vidinės (psichologinės) ir išorinės (socialinės) problemos jaudina 17-19 metų paauglius, ir kaip, taikant Forumo teatro metodą, susiformuoja gebėjimai jas iškelti ir konstruktyviai išspręsti. Darbe buvo siekiama išanalizuoti mokslinę, metodinę literatūrą, susijusią su Forumo teatro metodo taikymu; nustatyti Forumo teatro veikimo principus; apibūdinti paauglių požiūrį į Forumo teatro taikymo atitikimą jų poreikiams; išaiškinti, kaip, taikant Forumo teatro metodą, vyksta 17-19 metų paauglių gebėjimų spręsti problemas formavimosi procesas; nustatyti paauglių gebėjimus, įgytus mokymo/si spręsti jiems aktualias psichologines ir socialines problemas procese, taikant Forumo teatro metodą. Siekiant išsamiai ir detaliai išnagrinėti paauglių mokymo/si spręsti jiems aktualias problemas Forumo teatre procesą nuo 2007 m. lapkričio mėnesio iki 2008 m. gruodžio mėnesio 17-19 metų paaugliams buvo organizuoti Forumo teatro užsiėmimai ir atliekamas atvejų tyrimas. Tyrimo metu duomenys buvo renkami stebint atskirų individų ir individų grupių užduočių atlikimą, apklausiant ir fiksuojant (užrašant ir filmuojant) su tyrimo objektu susijusią informaciją. Tyrime dalyvavo 79 paaugliai. Forumo teatro taikymo procese paaugliai įgijo gebėjimų iškelti ir įvardinti jiems aktualias vidines (psichologines) ir išorines... [toliau žr. visą tekstą] / The topic of teenagers teaching and their learning how to solve their urgent problems through the method of Forum Theatre has not been investigated in Lithuanian scientific literature. The purpose of the investigation is to reveal what internal (psychological) and external (social) problems are important to 17-19-year-old teenagers and how the skills of revealing and solving these problems are formed using the method of Forum Theatre. This paper aims to analyze scientific, methodological literature connected with the Forum Theatre method application; establish Forum Theatre effect principles; describe the views of teenagers on how Forum Theatre application meets their needs; find out how, using the method of Forum Theatre, the process of building up teenagers skills of solving problems happens; reveal the abilities of the 17-19-year-olds which they developed through the process of learning-teaching how to cope with their psychological and social problems, using the method of Forum Theatre. Seeking to carry out a detailed investigation of the process of teenagers’ learning-teaching how to solve their urgent problems through Forum Theatre, from November 2007 till December 2008, Forum Theatre lessons were given to 17-19-year-old teenagers, after which the analysis of the cases was performed. During the investigation the data was collected monitoring how separate individuals and groups of individuals perform the tasks, interviewing and fixing (writing down and filming) the... [to full text]

Augusto Boal e José Celso Martinez Corrêa foram artistas que protagonizaram momentos de singular importância na história do teatro brasileiro nas décadas de 1960 e 1970. Apesar da significativa diferença no trabalho artístico entre os dois, eles transitam por categorias semelhantes e decisivas para aquela geração que deu novos rumos para a modernização do teatro no Brasil. Com este trabalho, buscou-se acompanhar as formulações estéticas e políticas dos dois diretores após o golpe civil-militar de 1964. Tomou-se como base a discussão sobre a fratura histórica ocasionada pela ditadura no campo da arte engajada e os impasses decorridos dela. A partir daí, a tese analisa alguns espetáculos, o tipo de trabalho criativo e principalmente o material teórico e reflexivo produzido por Boal e Zé Celso a partir de 1967, quando ambos iniciam um processo de reavaliação sobre as tentativas de resistência no campo de teatro político. A proposta foi de tentar compreender a linha de pensamento que leva-os até as formulações vanguardistas do começo da década de 1970, os caminhos de resistência e enfrentamento sugeridos por eles e, fundamentalmente, o tipo de travamento histórico que suas posições sofreram no Brasil. Por fim, o trabalho apresenta uma pesquisa sobre os anos de exílio de ambos, quando tiveram a chance de trabalhar em ambientes marcados por forte agitação social fora do país. Foi no exílio que as formulações de Boal e de Zé Celso ganharam novos sentidos críticos que, por sua vez, proporcionaram um ângulo diverso para compreender o trabalho realizado no Brasil entre 1964 e o começo da década de 1970. / Augusto Boal and José Celso Martinez Corrêa were artists who performed moments of singular importance in the history of Brazilian theater in the 1960s and 1970s. In spite of the significant difference between their artistic work, they moved through similar and decisive categories for that generation that gave new directions for the modernization of theater in Brazil. With this work, we sought to follow the aesthetic and political formulations of the two directors after the civil-military coup of 1964. The discussion was based on the historical fracture caused by the dictatorship in the field of the engaged art and the impasses that followed. From that point on, the thesis analyses some of the shows, the kind of creative work and, mainly, the theoretical and reflexive material produced by Boal and Zé Celso from 1967, when both began a revaluation process on attempts at resistance in the field of political theater . The proposal was to try to understand the line of thought that leads them to the avant-garde formulations of the early 1970s, the ways of resistance and confrontation suggested by them and, fundamentally, the type of historical locking that their positions suffered in Brazil. Finally, the paper presents a survey of the years of exile of both, when they had the chance to work in an environment marked by strong social unrest abroad. It was in exile that the formulations of Boal and Zé Celso gained new critical senses that, in turn, provided a diverse angle to understand the work done in Brazil between 1964 and the early 1970s.

A busca por novas linguagens para a participação no processo público de tomada de decisão levou a prefeitura do município de Santo André, estado de São Paulo, a aliar ao programa de Orçamento Participativo processos de Teatro do Oprimido, sistema desenvolvido pelo teatrólogo Augusto Boal a partir de seu exílio da ditadura brasileira até o ano de sua morte, 2009. A partir de uma abordagem crítica do Orçamento Participativo, segundo uma leitura à luz da obra do filósofo Michel Foucault, considera-se que a participação no governo pode conferir uma manutenção da ordem em vez de empoderamento da população. No que se refere ao Teatro do Oprimido, estudos críticos indicam que haveria nessa estética poucas possibilidades de elaboração poética dos processos. Considerando-se esses problemas, investiga-se de que forma o teatro possibilitaria redimensionar o processo de participação no orçamento. Estudam-se aspectos estéticos e pedagógicos relacionados ao desenvolvimento do Teatro do Oprimido nas plenárias de Orçamento Participativo em Santo André no período de 1997 a 2001. A discussão teórica empreendida levanta os conceitos foucaultianos de governamentalidade, biopolítica, panóptico e sujeito para operar a genealogia do poder em Teatro da qual se depreende a gênese do Teatro do Oprimido e a genealogia do poder em Contabilidade da qual se depreende a gênese do Orçamento Participativo. O estudo de caso que se realiza considera entrevistas com atores e espectadores das apresentações da esquete Orçamento Participativo pelo Grupo de Teatro do Oprimido de Santo André nas plenárias de Orçamento Participativo regionais e temáticas da cidade e outros documentos como fotos e textos. Desenvolve-se também uma simulação de um processo teatral sobre o orçamento na qual se avalia junto a estudantes universitários novas possibilidades ao Teatro do Oprimido e ao Orçamento Participativo. A avaliação dos resultados do caso indica limitações às intenções estéticas de abordagem do orçamento na modalidade do Teatro-Fórum, dadas pelo contexto governamental. A avaliação da simulação aponta o Teatro-Imagem como alternativa de investigação pedagógica sobre o orçamento, parecendo estar mais de acordo com uma perspectiva artística contemporânea. Considera-se que é a partir não da promoção da participação, mas do exercício de aproximação que o teatro pode reconfigurar o processo pedagógico do orçamento. / The search for new languages for public participation in the decision-making process led the municipality of Santo André, São Paulo, to combine the program of Participatory Budgeting with process of Theatre of the Oppressed, a system developed by Augusto Boal from his exile from the dictatorship in Brazil until the year of his death, in 2009. From a critical approach to Participatory Budgeting, based on the work of the philosopher Michel Foucault, it is considered that participation in government can give a regularity enforcement rather than empower the population. In the scope of Theatre of the Oppressed, critical studies indicate that there would be little chances of developing aesthetic poetic processes. Considering these problems, the research investigates how theater would allow interfere the process of participation in the budget. The study considers aesthetics and education related to the development of Theatre of the Oppressed in the plenary of Participatory Budgeting in Santo Andre in the period of 1997 to 2001. The theoretical discussion take up the Foucauldian concepts of governmentality, biopolitics, panoptics and subject to operate the genealogy of power in the theater which indicates the genesis of the Theatre of the Oppressed and the genealogy of power in Accounting from which indicates the genesis of the Participatory Budget. The case study considers to be held interviews with actors and spectators of the performances of the play \"participatory budget\" by the Group of Theater of the Oppressed Santo Andre in the regional and thematic plenary of Participatory Budgeting in the city and other documents such as photos and texts. It also carries the simulation of a theatrical process on the budget in which is evaluated with university students new opportunities to Theatre of the Oppressed and to Participatory Budget. Findings of the case indicates the limitations of the aesthetic intentions of the Forum Theatre method of approaching the budget given by government context. Findings suggest the Image Theater approach as an alternative of educational investigation to the budgetary process, as it seems to be better aligned to a contemporary artistic perspective. In conclusion, practice of connectedness and approximation seems to be much more relevant than promotion of participation to reset the budgetary pedagogical process.