Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
Participatory Art and the Politics of Spectatorship - autonomous ...
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social sadism made explicit<br />
stability <strong>and</strong> ultimately, for Boal, this type <strong>of</strong> Greek tragedy serves as an<br />
instrument <strong>of</strong> repression (‘what is purifi ed is <strong>the</strong> desire to change society<br />
– not, as <strong>the</strong>y say in many books, pity <strong>and</strong> fear . . . I don’t want <strong>the</strong> people<br />
to use <strong>the</strong> <strong>the</strong>atre as a way <strong>of</strong> not doing in real life’). 74 Instead, he sought to<br />
trigger in <strong>the</strong> viewer a desire to practise in reality <strong>the</strong> act that he/ she had<br />
rehearsed in <strong>the</strong> <strong>the</strong>atre, <strong>and</strong> Boal is meticulous in considering <strong>the</strong> affective<br />
impact <strong>of</strong> this technique: ‘<strong>the</strong> practice <strong>of</strong> <strong>the</strong>se <strong>the</strong>atrical forms creates a<br />
sort <strong>of</strong> uneasy sense <strong>of</strong> incompleteness that seeks fulfi lment through real<br />
action’. 75 In <strong>the</strong> context <strong>of</strong> contemporary art, it is telling that we do not<br />
have images <strong>of</strong> <strong>the</strong>se experiences: <strong>the</strong> force <strong>of</strong> Boal’s thinking is best<br />
communicated verbally. His most compelling innovations parallel those <strong>of</strong><br />
Eisenstein in <strong>the</strong> 1920s: using reality as a set, <strong>and</strong> real people as performers,<br />
to produce a heightened consciousness <strong>of</strong> social injustice.<br />
Before concluding, it is worth considering <strong>the</strong> relocation <strong>of</strong> Boal’s techniques<br />
from <strong>the</strong> context in which <strong>the</strong>y were devised: rural illiteracy <strong>and</strong><br />
oppression under <strong>the</strong> conditions <strong>of</strong> military dictatorship, in which anything<br />
less than a positive reference to society would be censored. Working in<br />
Sicily, Stockholm, Paris <strong>and</strong> o<strong>the</strong>r European cities in <strong>the</strong> later 1970s <strong>and</strong><br />
1980s, Boal found himself creating Invisible Theatre based on issues <strong>of</strong><br />
racism, ageism, sexism <strong>and</strong> homelessness, ra<strong>the</strong>r than class inequality; he<br />
gives examples <strong>of</strong> Invisible Theatre performed on <strong>the</strong> Paris Metro <strong>and</strong> on<br />
passenger ferries in Stockholm. 76 Despite his hostility towards <strong>the</strong> West as<br />
<strong>the</strong> source <strong>of</strong> Latin America’s problems, he noted that <strong>the</strong> same extremes <strong>of</strong><br />
wealth <strong>and</strong> poverty existed <strong>the</strong>re too, toge<strong>the</strong>r with new forms <strong>of</strong> oppression<br />
that Boal referred to as ‘<strong>the</strong> cop in <strong>the</strong> head’ – solitude,<br />
incommunicability, emptiness. Ra<strong>the</strong>r than an external armed threat, <strong>the</strong><br />
West suffered from an internalised oppression, an anomie leading a greater<br />
occurrence <strong>of</strong> depression <strong>and</strong> suicide. 77 Theatre scholar Mady Schutzman<br />
had argued that <strong>the</strong> Theatre <strong>of</strong> <strong>the</strong> Oppressed was devalued by such a relocation:<br />
it is ‘reduced to a technique for coping ra<strong>the</strong>r than changing<br />
– adapting oneself to <strong>the</strong> so- called “dem<strong>and</strong>s” an affl uent <strong>and</strong> privileged<br />
society makes upon a consumption- minded, capitalist individuality’. 78<br />
What were ‘rehearsals for revolution’ in Latin America became ‘rehearsals<br />
for healing’ in <strong>the</strong> West.<br />
For Boal, <strong>the</strong> Theatre <strong>of</strong> <strong>the</strong> Oppressed has different goals in different<br />
contexts: it could be political (events <strong>and</strong> demonstrations), <strong>the</strong>rapeutic<br />
(Boal collaborated with his wife Cecilia, a psychoanalyst), pedagogic (in<br />
schools), <strong>and</strong> legislative (in cities). The latter is perhaps <strong>the</strong> most relevant<br />
from today’s perspective: on returning to Brazil in 1986, Boal was invited<br />
by a Rio TV station to make a twenty- minute programme <strong>of</strong> Invisible<br />
Theatre every Sunday. One episode involved a dark- skinned man selling<br />
himself as a slave in <strong>the</strong> market because he found out that he earned less<br />
than a slave did in <strong>the</strong> nineteenth century. Ano<strong>the</strong>r concerned nuclear<br />
power: a group <strong>of</strong> actors dressed in black went to <strong>the</strong> beach at Ipanema <strong>and</strong><br />
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