Games for Actors and Non-actorsGames 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:
|
What people are saying - Write a review
LibraryThing Review
User Review - RKC-Drama - LibraryThingThis is the classic and best selling book by the founder of Theatre of the Oppressed, Augusto Boal, including new discussions, a new introduction and a collection of images. 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 |
Other editions - View all
Common terms and phrases
action actor Adrian Jackson animals argumems arms audience Augusto Boal blind body cemral chair character circle comact comains cominue concemration conllict coumry dialogue differem dynamisation elemems emer emotion essemial evem evemually everything exercise expressionism eyes face feel Forum Theatre gesture give Godrano goes Hamlet variation hands happen happy idea Image Theatre importam thing improvisation invemed Invisible Theatre iuto Joker asks Joker says legs lloor look mask mechanised minutes momem move movemems movemeuts object opposite oppression pairs participams particular partner passion person piece play poim possible presem protagonist rehearsal represemation rhythm rhythmic Rio de Janeiro ritual role scene sculptor sequence shout sitting social social code solution someone sound spect,actors stage standing starts stop teclmique theatrical touching walk wamed watching waut whole woman women words workshop leader young