Games for Actors and Non-actors

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Psychology Press, 2002 - Drama - 301 pages
14 Reviews

Games for Actors and Non-Actors is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal. It sets out the principles and practice of Boal's revolutionary Method, showing how theatre can be used to transform and liberate everyone - actors and non-actors alike!

This thoroughly updated and substantially revised second edition includes:

  • two new essays by Boal on major recent projects in Brazil
  • Boal's description of his work with the Royal Shakespeare Company
  • a revised introduction and translator's preface
  • a collection of photographs taken during Boal's workshops, commissioned for this edition
  • new reflections on Forum Theatre.
  

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Review: Games for Actors and Non-Actors

User Review  - Kata Mach - Goodreads

great methodology accompanying boal's "theater of the oppressed"- physical and mental exercises for work with actors /theater actors/social actors etc/ Read full review

Review: Games for Actors and Non-Actors

User Review  - Jo Halstead - Goodreads

This is a classic text for any Drama teacher - first read it in '95 and I still refer to it and use many of the techniques and games in it now. Read full review

Contents

The Royal Shakespeare Company
1
the fable of XuaXua the prehuman
11
THEATRE OF THE OPPRESSED IN EUROPE
18
THE STRUCTURE OF THE ACTORS WORK
29
THE ARSENAL OF THEATRE OF THE OPPRESSED
48
one leader one follower
52
one to one
53
Colombian hypnosis
54
Furnish the empty space
142
Building character relations
143
r t What has changed?
144
Animals
145
Professions
146
The balancing circle
147
The Indian in the city the city dweller in the forest
148
Follow two masters who metamorphose into each other
149

Colombian hypnosis
55
Minimum surface contact
56
Minimum surface coutact
57
seesaw
58
back to back
59
Pushing against each other bottom to bottom 61
64
The Greek exercise
65
The actor as object
66
walks
70
Slow motion
71
At a right angle
72
Monkey
73
r t Strappedfeet walk
74
In a circle
75
The rolling carpet
76
Back massage
77
The bear of Poitiers
78
Leapfrog
79
Stick in the mud
80
Millipede So 9 Apple dance
81
American football aka British bulldog
82
Little packets
83
Homage to Tex Avery cat and dogs
84
Good day
85
The parachute
86
Horizontality sequence
87
Verticality sequence
88
Sequence of rectilinear and circular movements
89
LISTENING TO WHAT WE HEAR
92
Game of rhythm and movement
93
The machine of rhythms
94
Machine of rhythms
95
The Peruvian ball game
96
The clapping series
97
West Side Story
98
The Portuguese rhythmic shoes
99
The two brooms
100
The four brooms
101
Rhythm dialogue in teams
102
Dialogue of rhythms
103
Lines of five
104
Bolivian mimosas
105
How manyAs in a singleA?
106
Crossing the room
107
Lying on their backs on tables
114
The imaginary journey
117
The glass cobra
118
The magnetpositive and negative
119
Swedish multiple sculpture
120
The blind car 12i 10 What is the object?
121
The smell of hands
122
Draw your own body
123
Modelling clay
124
The blind person and the bomb
125
Find a convenient back
126
The sound of the seven doorways
127
Instead of simply sayingStop the Joker says a number
128
The participants touch each other
129
The plain mirror
130
Everyone joins hands
131
The two lines form a curve
132
The mirror breaks
133
The distorting mirror
134
The rhythmic mirror
135
The modelling sequence
136
The sculptor doesnt touch the model
137
The sculptors spread out around the room
138
String puppet
139
Ball games
140
Boxing match
141
Collective creation of a mask KO 6 Addition of masks IeO 7 Pushing the mask to its extremity and nullifying it
150
Changing masks K1 10 Mask exchange
151
The masks of the actors themselves
152
Substitution of mask
153
Changing a whole set of masks into a different social class
154
Making the mask allencompassing
155
Changing actors midritual
156
The game of complementary roles
157
Exchange of roles
158
The clown of Amsterdam
159
The image of the object igo 1 The found object
160
The object transformed
161
The invention of space and the spatial structures of power
162
The great game of power
163
Six chairs
164
Games involving the creation of characters
165
The embassy ball
166
The childs fear
167
What grownups wanted me to be
168
The two revelations of Saint Teresa
169
The fighting cocks
170
THE MEMORY OF THE SENSES
171
remembering a day in the past
172
Memory and emotion and imagination
173
Extrapolation
174
models and dynamisations
176
illustrating a subject using other peoples bodies
181
Image of transition
185
Multiple image of oppression
186
Multiple image of happiness
189
Images of transition the technique in action
203
Somatisation
211
REHEARSAL EXERCISES FOR ANY KIND OF PLAY
217
Ritual in which everyone becomes an animal 6 Stimulation of the dormant parts of ourselves 224 6 Stimulation of the dormant parts of ourselves
224
Ideological warmup
225
The evocation of historic events
226
Stop Think
227
The reconstruction of the crime
228
Analytical rehearsal of emotion
229
Artificial pause
230
Rehearsal of the cue
231
Silence on set Action
232
Slow motion
233
Exaggeration
234
Caricature
235
The rhythm of scenes
236
Keep talking
237
THE EARLY FORMS OF FORUM THEATRE
241
DOUBTS AND CERTAINTIES
253
Do we have to arrive at a solution or not?
259
The repeated scene
266
How to replace a character without transforming it into another
267
What is agoodoppression?
268
Who can replace whom?
269
How should a model be rehearsed?
271
Can a forum change themes?
273
Can people remain spectators in a Forum Theatre session?
274
When does a session ofTheatre of the Oppressed end?
275
FIRST EXPERIENCES WITH INVISIBLE THEATRE
277
Queen Silvias baby
280
the Creek
282
the black woman
283
Picnic in the streets of Stockholm
285
The audiences children
287
A MEDITATION ON ART AND THE MIRACULOUS
289
Passion and art
293
The mad artist and the artist madman
296
THE PEDAGOGY OF FEAR THEATRE AND THE TWIN TOWERS AN ESSAY AFTER 11 SEPTEMBER 2001
298
Copyright

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About the author (2002)

Augusto Boal is a theatre director, dramatist, theorist, writer and teacher. He was a Member of Parliament for Rio de Janeiro from 1993-1996. He is the author of Theatre of the Oppressed, Games for Actors and Non-Actors, Rainbow of Desire, Legislative Theatre, and Hamlet and the Baker's Son: My Life in Theatre and Politics.
Adrian Jackson is Artistic Director of Cardboard Citizens. He has translated four books by Augusto Boal, collaborated on a number of occasions and taught Theatre of the Oppressed widely in other countries, including Namibia, South Africa, Hong Kong, Mauritius and Finland.

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