„We must all do theatre – to find out who we are, and to discover who we could become.“
Aesthetics of the Oppressed (2006)
Frasi di Augusto Boal
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Augusto Boal
Data di nascita: 16. Marzo 1931
Data di morte: 2. Maggio 2009
Augusto Boal è stato un regista teatrale, scrittore e politico brasiliano.
Ha fondato il teatro dell'oppresso, una forma teatrale originariamente usata dai movimenti di educazione popolare radicale. Boal è stato anche vereador a Rio de Janeiro dal 1993 al 1997..
È stato autore del messaggio della Giornata mondiale del Teatro 2009, pochi mesi prima della sua dipartita.
Frasi Augusto Boal
„Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!“
Games for Actors and non-Actors (1992)
Contesto: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!
„This is…how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.“
Games for Actors and non-Actors (1992)
Contesto: Wouldn’t it be wonderful to see a dance piece where the dancers danced in the first act and in the second showed the audience how to dance? Wouldn’t it be wonderful to see a musical where in the first act the actors sang and in the second we all sang together?... This is... how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.
„When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world.“
World Theater Day Message, Geneva, Switzerland (2009)
Contesto: When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.
„In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life….The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life.“
Games for Actors and non-Actors (1992)
Contesto: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!
„In its most archaic sense, theatre is the capacity possessed by human beings—and not by animals—to observe themselves in action.“
Games for Actors and non-Actors (1992)
Contesto: In its most archaic sense, theatre is the capacity possessed by human beings—and not by animals—to observe themselves in action. Humans are capable of seeing themselves in the act of seeing, of thinking their emotions, of being moved by their thoughts. They can see themselves here and imagine themselves there; they can see themselves today and imagine themselves tomorrow. This is why humans are able to identify (themselves and others) and not merely to recognise.
„When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists.“
Games for Actors and non-Actors (1992)
Contesto: When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.
„We are all actors: being a citizen is not living in society, it is changing it.“
World Theater Day Message, Geneva, Switzerland (2009)
„Theatre has nothing to do with buildings or other physical constructions. Theatre — or theatricality — is the capacity, this human property which allows man to observe himself in action, in activity.“
The Rainbow of Desire (1995)
Contesto: Theatre has nothing to do with buildings or other physical constructions. Theatre — or theatricality — is the capacity, this human property which allows man to observe himself in action, in activity. The self-knowledge thus acquired allows him to be the subject (the one who observes) of another subject (the one who acts). It allows him to imagine variations of his action, to study alternatives. Man can see himself in the act of seeing, in the act of acting, in the act of feeling, the act of thinking. Feel himself feeling, think himself thinking.
„It is forbidden to walk on the grass. It is not forbidden to fly over the grass.“
Games for Actors and non-Actors (1992)
„Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.“
Origine: Games for Actors and non-Actors (1992), p. xxxi
„To resist, it is not enough to say No – it is necessary to desire!“
Aesthetics of the Oppressed (2006)
„I believe in democracy, but in real democracy, not a phony democracy in which just powerful people can speak. For me, in a democracy everyone speaks.“
As quoted in "To Dynamize the Audience: Interview with Augusto Boal" by Robert Enight, Canadian Theatre Review 47 (Summer 1986), pp. 41-49
