The thing that most resonated with me while reading Augusto Boal’s Theatre of the Oppressed was how art and the process of making art is defined as a different language. I couldn’t agree with this more. The example of people being asked to take a picture of what their home is could not be more memorable. In this matter, the writer argues that photography is purely a visual language. The saying “a picture is worth a thousand words” really began to take a new meaning. The language of making theatre is argued to be one of story telling. As a lighting designer, this is purely what I do. Just like the community members participating in various games, I take a script or some piece of work and build the world that exists around it. My art is not as much about physicality, but nonetheless, it is my job as a theatre designer to create the world that the story revolves around.
1. CONTEXT: What were the circumstances that framed the meaning and process of this project? There are many minority teens in low-income, low-opportunity areas who have unheard voices. Their self-esteem isn't cultivated and all of their portrayal in the media is negative. 2. CONTENT: What was the issue, need, idea or opportunity addressed by this project? Teen voices were unheard, opinions of them were based on negative media stereotypes, and many of them had very poor self-esteem. 3: FORM: What is the medium that was used to address or embody the content? Immersive theatre in the form of car-conversations that audience members could eavesdrop on. 4. STAKEHOLDERS: Which are the groups or individuals that were invested in the project? The teenagers were very invested because of their desire to free their voices. The adults who helped were invested because they wanted to help these kids start to change the narrative. And the d...
Comments
Post a Comment