I grew up a lot hearing and learning about Augusto Boal. Theater of the Oppressed is basically theater that brings about social change. In Lebanon, I grew up seeing a lot of street theater that would be heavily influenced by the country's political climate. As a child I had a vague understanding of what it truly meant to be performing the way they were. It wasn't until high school that I started to view Lebanese street theater/art differently. My theater teacher at the time was very aware of Lebanon's political state and introduced us to Augusto Boal and his practices. Since then, I started looking at theater, film and art in ways I could not have before. Almost everything for me became political from then on. I felt that the urgency of art that fits into Theater of the Oppressed is one that is necessary for social, political, and economic change. I try to emulate or reflect the Lebanese struggles of war, poverty and corruption in nearly everything I create, be it satirical or dramatic
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...