Theatre of the Oppressed

I'm fascinated by preserving their original language and teaching them Spanish. Specifically the intention of neither one gaining preference. This is something I think about as a mixed race child.

I love the idea of making people literate in as many art forms as possible.

How do you throw the spectator into the action? Make them the protagonist?

10 and 11 year old siblings having sex because they see their parents doing it is so horrifying. Such a wild thing to try to reflect dramatically. What would be the point of it?

Can we teach the audience to ascribe meaning to unfamiliar symbols?

How do you practice theatre as something present and living ?

The specificity of what is meant by a word like "embrace."

Proletariat and oppressed don't know what their world is like so the theatre remains in progress. I relate to this a lot. I feel like the work is trying to make sense of existence.

I love the idea of people between classes exchanging the same ritual.

Comments

Jeremy Griffith - The Roof is on Fire

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...

Mind Map

Theater of the Opressed: Kazmiera Tarshis

Theater of the opressed exists to engage the audience and community in the perfrmance. It offers a vehicle for social change at a very accessible level. I think the idea of asking the audience what the right choice is or to come up on stage and be a part of the performance is such an interestig cocept. It reminds me of those books that are "choose your own adventure". This seems to be a belief that many different theaters have in their own company beliefs section so it seems to be a relatively popuar idea within the theater world. Or, at leat, well known. I wonder if having the play interrupted would ruin the imaginary world which has been created. Is there a better way to get the audience involved without changing the traditional structure of a play?

Arts and Community Engagement 2018

Search This Blog