Theatre of the OppressedThe innovative Brazilian playwright, director and international lecturer explicates Aristotle's poetics and the philosophies of Machiavelli, Hegel and Brecht to determine the extent to which their chief components--imitation, catharsis and, ultimately, audience control--serve up to support the status quo of a society rather than facilitate change. |
Contents
2 Machiavelli and the Poetics of Virtu | 51 |
The Character as Subject or the Character as Object? | 81 |
4 Poetics of the Oppressed | 117 |
5 Development of the Arena Theater of Sao Paulo | 157 |
Appendices | 191 |
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Common terms and phrases
abstract accept according actors anagnorisis Arena Theater Aristotelian Aristotle Arnold Hauser artist asked audience Augusto Boal barbecue becomes behavior Bertolt Brecht bourgeois bourgeoisie Brazilian Brecht catharsis character character's characteristics concrete conflict created Creon Dale Carnegie dramatic action dramaturgy emotions empathy epic poetry esthetic ethical example exist fact feudal function Gaius Gracchus Galy Gay hamartia hand happened happiness Hegel hero human ideas interpretation Joker live Machiavelli matter means moral movement necessary objective oppressed Parmenides participants passions peasants perfect performance peripeteia person pity and fear play poetics political present produced proposed protagonist reality relation ritual role scene social ethos society soul spectacle spectator stage story structure style symbol system of tragedy technique theatrical things Timoteo tion Tiradentes Tragedy imitates tragic flaw transformed truth utilized values vice virtue virtuous woman Zumbi