Augusto Boal's
Theatre of the Oppressed in the Anthropology Classroom
In 2004 I published ‰Applications of
Augusto Boal‰s Methods in the Anthropology Classroom: Power,
Reflexivity, Critical Thinking‰ in Strategies in Teaching
Anthropology (third edition). The purpose of the piece is to
offer anthropologists ideas for developing an explicit emphasis
on power in the classroom. My article situates an understanding
of dramatist Boal‰s focus on power in theatrical exercises to
the context of the anthropology classroom. In Cultural
Anthropology, to state one example from my use of the techniques,
I have found that the topic of power comes up in cultural
contexts, especially when we discuss tourism. In addition to
assigning readings on the specific topic, I often use the Boalian
method to simulate embedded understandings of power. Boal
suggested that through the use of the exercises, the concepts of
power and agency can be better comprehended‰if not for the mere
fact that people engage the scenarios with their minds and, most
importantly, their bodies. I have also discovered that many of my
kinesthetic learners enjoy the opportunity to experience issues
through Boal‰s techniques. One of the initial exercises that I
involve is the Great Game of Power. The idea is to begin with
abstract, inanimate objects‰like chairs, a table and a water
bottle‰to get participants to understand the semiotic ways in
which we conceive of power in various cultures. Next, I often
incorporate any number of preparatory exercises to get students
prepared for the culmination of the Theatre of the Oppressed
activities. A common one is Image Theatre, and it involves groups
of students making images of oppression. What is unique about
Boal‰s work is that he allows participation throughout all
levels of the activities. In the case of the images produced in
Image Theatre, students have the opportunity to move about the
static image and comment on the qualitative nature of oppression
in the image. The ability to develop analytical and interpretive
skills in my students is invaluable. A final activity is known as
Forum Theatre, and ultimately it is a full-fledged drama that the
groups of students create and rehearse. Boal stipulates that the
basis of the drama must be a real form of oppression that a
member of the group experienced or heard about in an intimate
way. During the presentation of the drama, Boal allows for
‰spectactors‰ to enter the space, stop the action and attempt
to eliminate the oppression in the drama. In the image pictured
here a group of students are participating in Forum Theatre
during my college‰s multicultural week. I have used Boal‰s
techniques both inside and outside the classroom. In this case of
the drama, one of the students experienced anti-Semitism in her
youth. In the Forum Theatre this real, experienced oppression was
demonstrated in a scene that mimicked the car ride in which the
act occurred. Augusto Boal‰s work is ideal for the anthropology
classroom, especially as his techniques have allowed me to
facilitate reflexive and embodied forms of learning.
In 2004 I published ‰Applications of
Augusto Boal‰s Methods in the Anthropology Classroom: Power,
Reflexivity, Critical Thinking‰ in Strategies in Teaching
Anthropology (third edition). The purpose of the piece is to
offer anthropologists ideas for developing an explicit emphasis
on power in the classroom. My article situates an understanding
of dramatist Boal‰s focus on power in theatrical exercises to
the context of the anthropology classroom. In Cultural
Anthropology, to state one example from my use of the techniques,
I have found that the topic of power comes up in cultural
contexts, especially when we discuss tourism. In addition to
assigning readings on the specific topic, I often use the Boalian
method to simulate embedded understandings of power. Boal
suggested that through the use of the exercises, the concepts of
power and agency can be better comprehended‰if not for the mere
fact that people engage the scenarios with their minds and, most
importantly, their bodies. I have also discovered that many of my
kinesthetic learners enjoy the opportunity to experience issues
through Boal‰s techniques. One of the initial exercises that I
involve is the Great Game of Power. The idea is to begin with
abstract, inanimate objects‰like chairs, a table and a water
bottle‰to get participants to understand the semiotic ways in
which we conceive of power in various cultures. Next, I often
incorporate any number of preparatory exercises to get students
prepared for the culmination of the Theatre of the Oppressed
activities. A common one is Image Theatre, and it involves groups
of students making images of oppression. What is unique about
Boal‰s work is that he allows participation throughout all
levels of the activities. In the case of the images produced in
Image Theatre, students have the opportunity to move about the
static image and comment on the qualitative nature of oppression
in the image. The ability to develop analytical and interpretive
skills in my students is invaluable. A final activity is known as
Forum Theatre, and ultimately it is a full-fledged drama that the
groups of students create and rehearse. Boal stipulates that the
basis of the drama must be a real form of oppression that a
member of the group experienced or heard about in an intimate
way. During the presentation of the drama, Boal allows for
‰spectactors‰ to enter the space, stop the action and attempt
to eliminate the oppression in the drama. In the image pictured
here a group of students are participating in Forum Theatre
during my college‰s multicultural week. I have used Boal‰s
techniques both inside and outside the classroom. In this case of
the drama, one of the students experienced anti-Semitism in her
youth. In the Forum Theatre this real, experienced oppression was
demonstrated in a scene that mimicked the car ride in which the
act occurred. Augusto Boal‰s work is ideal for the anthropology
classroom, especially as his techniques have allowed me to
facilitate reflexive and embodied forms of learning.