Augusto Boal (Brazil, 1931-2009) (international)

Statement of inquiry: Art has the power to impact the world

Augusto Boal;
intro;
Augusto Boal was a playwright, theatre director and political activist from Rio De
Janeiro, Brazil. He was ultimately known for his ideology of theatre having an impact
on societal politics and his belief in the strength of stagecraft and performance arts;
that artistic movements can bring about real change. His impactful creations include
the establishment of the “Theatre Of The Oppressed” where he came up with brilliant
theatrical theories, linking it with real life. Augusto Boal passed away in 2009 on the
2nd of May.

Background info;

Actual info-
Augusto Boal (1931-2009) was a Brazilian theater director, writer, and politician known
for his pioneering work in the field of Theatre of the Oppressed. Born on March 16, 1931,
in Rio de Janeiro, Boal dedicated his life to using theater as a tool for social and political
change. Boal initially studied chemical engineering but later pursued a career in theater.
In the 1950s, he worked with the Arena Theatre in São Paulo, Brazil, where he became
associated with the Theatre of the Absurd movement. He also studied and worked in
Europe, where he was exposed to different theatrical traditions. (“background
information on augusto boal” prompt. ChatGPT, 2023, OpenAI, 27th Jan 2024,
chat.openai.com)

Boal grew up in Rio de Janeiro and earned a degree in chemical engineering in 1952.
However, he had been interested in theatre since he was a child, and, when he attended
Columbia University in New York City, he studied theatre in addition to chemical
engineering. He returned to Brazil in 1955. Boal began his career with the Arena Theatre
in São Paulo in 1956, and he was its artistic director until 1971, during which time he
developed his theories. In the late 1960s, inspired by Pedagogia do oprimido (1968;
Pedagogy of the Oppressed) by revolutionary educator Paulo Freire, he began
experimenting with a form of Living Newspaper theatre. His work was considered
subversive by the military junta then ruling Brazil, and he was arrested in 1971 and
tortured. He spent the next 15 years in exile.
During this period Boal published Teatro del oprimido y otras poéticas políticas (1974;
Theatre of the Oppressed) (The Editors of Encyclopedia Britannica,
brittanica.com/biography/Augusto-Boal)

Boal began to write plays that drew upon the censorship, oppression, and torture enacted
by the Brazilian military regime. His innovative plays combined dramatic and visual arts as
well as music. In 1971, Boal was imprisoned and tortured by the military police for his
subversive activity, and later exiled. In exile he wrote Theater of the Oppressed and
Torquemada. Some of his other plays include Arena Conta Zumbi, Arena Conta Bolivar,
Arena Conta Tiradentes, and Revolution in South America. (“Augusto Boal | We Cannot
Remain Silent” library.brown.edu )

paraphrased;

Augusto Boal was born in Rio De Janeiro, Brazil in 1931 on the 16th of March. He
was a student of Chemical Engineering and then later also of theatre during his
attending at Columbia university. From the mid 1950’s to the late 60’s, he worked in
his theatrical career, while exploring his different theories and ways of performance.

His experiences of challenging an exploitative system during Brazil’s politically rough

periods in the 1970’s indeed was an inspiration for his works and usage of theatre to
influence society. He was arrested in 1971 as a result of his politically rebellious and
provocative acts against the oppressive Brazilian military regime through his
productions that depicted the faulty Brazilian society of the time including
suggestive solutions. He published his famous book “Theatre Of The Oppressed”
regarding his created theories and methods of theatre in 1973 while in exile. As a
result of his experience of being oppressed and silenced, and the desire to change
the system; Augusto Boal's theatre performances often consisted of political
themes, including portrayals of political issues and faults, the receiving and
brainstorming of resolutions towards a just society.
Let’s analyse Boal’s theories;

Actual info;
The Theater of the Oppressed is a theatrical and political methodology created by
Brazilian theater practitioner Augusto Boal. Boal developed this approach in the 1960s
and 1970s as a way to engage communities in critical dialogue and explore issues of
oppression, power, and social justice. The Theater of the Oppressed is rooted in the
belief that theater can be a powerful tool for social change and that it should be a
participatory and democratic experience.

Key concepts and techniques associated with the Theater of the Oppressed include:

​ Forum Theater (FT): In Forum Theater, a short scene depicting a situation of

oppression or conflict is performed. After the initial performance, the audience is
invited to intervene and suggest changes to the scene. The actors then
incorporate these suggestions, and the scene is replayed. This process continues
until the audience feels a satisfactory resolution has been achieved. Forum
Theater encourages active participation and allows spectators to explore
different possibilities for addressing oppression.
​ Image Theater: This technique involves the use of physical poses and gestures to
create "images" that represent different aspects of a problem or situation.
Participants can use their bodies to explore power dynamics, relationships, and
emotions. Image Theater helps participants express themselves non-verbally and
gain insights into the dynamics at play in a given situation.
​ Legislative Theater: In this form, Boal aimed to directly engage with political
issues. The audience is invited to propose and debate potential solutions to a
societal problem. The goal is to create a space for dialogue and democratic
decision-making, empowering community members to actively participate in
shaping their own futures.
​ Invisible Theater: In Invisible Theater, actors perform scenes in public spaces
without announcing that it is a theatrical performance. The goal is to provoke
genuine reactions from passersby and engage them in spontaneous discussions
about the issues presented. This form is designed to challenge people's
perceptions and create awareness in unexpected settings. (“theatre of the
oppressed augusto boal” prompt. ChatGPT, 2023, OpenAI, 27th Jan 2024,
chat.openai.com)
Boal's work was deeply influenced by his experiences in Brazil during a period of
political repression. In the 1970s, he was arrested and tortured by the military regime for
his involvement in political activism. After his release, Boal went into exile, living in
various countries, including Portugal and France.(“background information augusto
boal” prompt. ChatGPT, 2023, OpenAI, 27th Jan 2024, chat.openai.com)

Paraphrased;

- Forum Theater: a concept which is applied to almost all of Boal’s other

theories. An interactive performance that defies the barrier between actors
and the audience. A scene consisting of a character experiencing a
challenging situation is performed after which the audience intervenes and
are free to do whatever while enacting characters and proposing a solution.
- Image theatre. Actors express an image built by their bodies; a “tableaux”, the
process of creating a scene that looks like a picture representing historical
oppressive events followed by the audience's response and changes to the
performed image. This technique aids the participants in understanding more
deeply their body's movement and the pictures it can create, the ability to
express visually.
- Invisible theatre; where the barrier between a performance and the real world
is indistinct. Performed in public spaces without announcements, resulting in
the bringing out of instant responses from the surrounding audience who
unknowingly become performers of an act in a sense.
- Legislative theatre where performances adapted and thoroughly depicted real
life goings on, problematic issues of society along with performances of
different policies to relieve these issues. Spectators were motivated to make
suggestions concerning the shown policies.

Augusto Boal has influenced the ways of doing theatre because he has
experimented with and challenged the norms of theatre performance. By coming up
with an approach that breaks the basis of mere performing by actors and consuming
by audiences, he has promoted the importance of drama being perceived as
something that is not only meant to be spectated but experienced by oneself; the
idea that all breathing humans are artists, are performers, administrators of system
and changemakers.

Slide 5; social change

Actual info;
Augusto Boal, a Brazilian theatre director, writer, and politician, developed a unique form
of theatre known as "Theatre of the Oppressed." This theatrical approach aimed to
engage communities in critical dialogue and social change. Boal's techniques have
been used globally in various contexts to address social issues and empower
marginalized groups. Here are some instances where Boal's theatrical productions have
made societal impacts:

Brazilian Landless Workers Movement (MST):

​ Boal's techniques were used by the MST, a social movement in Brazil advocating
for agrarian reform and land rights for the rural poor. The MST utilized Theatre of
the Oppressed methods to raise awareness, organize communities, and mobilize
support for their cause. Boal's work helped empower landless workers to voice
their struggles and challenge oppressive structures.

Community Empowerment in India:

​ Theatre of the Oppressed techniques have been applied in various Indian

communities to address issues such as gender inequality, caste discrimination,
and human rights abuses. Boal's methods have been used by grassroots
organizations and NGOs to empower marginalized groups, facilitate dialogue,
and promote social justice.

Educational Settings:

​ Boal's techniques have been integrated into educational curricula worldwide to

promote critical thinking, empathy, and social awareness among students.
Theatre of the Oppressed workshops in schools and universities have helped
students explore complex social issues, develop creative solutions, and engage
in constructive dialogue.

Conflict Resolution and Peacebuilding:

 ​ Theatre of the Oppressed has been used in conflict-affected areas to promote
reconciliation, dialogue, and peacebuilding. Boal's methods have been employed
in conflict resolution workshops, refugee camps, and post-conflict settings to
facilitate communication, address trauma, and build bridges between
communities.

Community Development Projects:

​ Theatre of the Oppressed techniques have been integrated into community

development projects worldwide to empower marginalized communities, amplify
their voices, and foster social change. Boal's methods have been used in
initiatives focused on issues such as urban poverty, environmental justice, and
healthcare access.

Prison Rehabilitation Programs:

​ Theatre of the Oppressed workshops have been implemented in prisons to

promote rehabilitation, address issues of incarceration, and empower inmates.
Boal's techniques have been used to facilitate self-reflection, conflict resolution,
and personal transformation among incarcerated individuals.

Global Advocacy and Awareness:

​ Boal's work has contributed to global advocacy efforts for social justice, human
rights, and cultural activism. Theatre of the Oppressed performances, workshops,
and trainings have raised awareness about various societal issues, inspired
activism, and promoted solidarity across borders. (“instances where augusto
boals theatrical productions has actually made societal impact” prompt.
ChatGPT 3.5, OpenAI, 27th Jan 2024, chat.openai.com)

Paraphrased-

In a nutshell, the way Augusto Boal's work has encouraged actual change in society
was because of his developed theories and his introduced dramatic strategies. His
ways of resisting using art had inspired many revolting movements around the
world, including his own country Brazil when the “Brazilian Landless Workers
Movement” used Boals theatrical methods to raise awareness about the struggles of
low class workers. It was also used in India while conveying issues such as a caste
rigid society, gender inequality, and other forms of discrimination and deprivation. It
has been used in different refugee camps or post- conflict contexts as a means of
unpacking and communicating trauma, and also has been adapted in many
education curricula as a means of artistic understanding and training. “Theatre Of
The Oppressed” methodologies have been put to use in many settings as a
facilitator of awareness and administering peace and justice.

Slide 6; personal insight

While studying this artist's impact, I formed a personal understanding of art in
general (including performance art). I realised that the important thing about theatre
and any form of art is what goes on in it is undergone by all and the artistic product
is a documentation of that. I questioned Augusto Boal's thought process and reason
for his invalidation of a labelled performer and a labelled audience until I noticed that
every person's way of life itself is the real process of creating which means that
every one of us is a performer. I can use this learning to better imitate reality while
conveying expressions and creating a message.

Citation:

“‘instances Where Augusto Boals Theatrical Productions Has Actually Made

Societal Impact” Prompt. ChatGPT, OpenAI 3.5 Accessed 27 Jan. 2024.
chat.openai.com/c/cfce76dc-0245-41ea-a5ac-e55bb52bbf03.

“background information on Augusto Boal” Prompt. ChatGPT, OpenAI 3.5

Accessed 27 Jan. 2024.
https://chat.openai.com/c/734a937d-86f0-4137-a903-e7a919e50572

“theater of the oppressed augusto boal” Prompt. ChatGPT, OpenAI 3.5 Accessed
27 Jan. 2024.
https://chat.openai.com/c/4555b594-7864-443e-9ddc-0c11f59aa432
 The Editors of Encyclopedia Britannica. “Augusto Boal | Brazilian

Theatrical Director.” Encyclopædia Britannica, 12 Mar. 2019,

www.britannica.com/biography/Augusto-Boal.

“Augusto Boal | We Cannot Remain Silent.” Library.brown.edu,

library.brown.edu/create/wecannotremainsilent/biographies/martinha-a

rruda/#:~:text=In%201971%2C%20Boal%20was%20imprisoned.

https://library.brown.edu/create/wecannotremainsilent/biographies/ma

rtinha-arruda/#:~:text=In%201971%2C%20Boal%20was%20imprisoned,

and%20Revolution%20in%20South%20America.

Local artist; Selim Al Deen

Slide 1 intro;

Actual info;
Selim Al Deen (1959–2008) was a prominent Bangladeshi playwright, director, and
academic known for his significant contributions to Bangladeshi theater. He played a
crucial role in reshaping and modernizing Bengali drama, particularly during the late
20th century. (“background information on Selim Al Deen” prompt. ChatGPT 3.5, OpenAI,
28th Jan 2024, chat.openai.com)

Paraphrased;

Selim Al Deen was a Bangladeshi theatre director, playwright, writer and educator.
He was popular because of his expanding the norms and boundaries of Bangladeshi
theatre, and being an inspiration and aid for an up to date theatren scee in
Bangladesh back in the 1980’s to the early 2000’s . Selim Al Deens significance lies
mostly in the pushing forward of theatre practices within Bangladesh and helping it
to be more recognised and appreciated in Bangladeshi society through his brilliant
endeavours and presentation of knowledge.

Slide 2 background info;

Actual info;
Deen, Selim Al (1949-2008) playwright, teacher, was born on 18 August 1949 in the village
Senerkhil under coastal SONAGAZI UPAZILA, Feni district. He got admitted to first year BA Honours of the
Bangla department of Dhaka University in 1967. After studying up to second year, he shifted to
Karatia Saadat University College in Tangail due to political reasons and obtained graduation from
there. He then obtained MA in Bangla literature from the UNIVERSITY OF DHAKA. He obtained PhD
degree from the JAHANGIRNAGAR UNIVERSITY in 1995 for his dissertation on 'Bengali drama in mediaeval
Bengal'. (“Deen, Selim Al” en.banglapedia.org/index.php/Deen,_Selim_Al)

Independence War (1971): Selim Al Deen actively participated in the Bangladesh

Liberation War of 1971, which led to the independence of Bangladesh. This historical
event had a profound impact on him and the nation.
Engagement with Traditional Arts: Selim Al Deen had a deep interest in traditional arts
and folk theatre. He worked towards the revival of traditional forms, blending them with
contemporary theatre. (“major life events of Selim Al Deen” prompt. ChatGPT 3.5,
OpenAI, 28th Jan 2024, chat.openai.com)

Rural Background:
● Selim Al Deen was born in a rural area of Bangladesh. His upbringing in the
countryside, surrounded by the cultural richness and traditional practices of rural
life, likely influenced his portrayal of rural themes in his plays. The authenticity
and depth with which he depicted rural life in Bangladesh can be attributed to his
personal connection with it. (“personal experiences Selim Al Deen has gone
through which had inspired his theatrical works” prompt. ChatGPT 3.5, OpenAI,
28th Jan 2024, chat.openai.com)

Paraphrased;
Selim Al Deen was born in the Feni district of Bangladesh, in 1949 on the 18th of
August. He attended Dhaka university in 1967 under the Bangla department and
received an MA certificate for Bangla literature there before later attending
Jahangirnagar university in 1995 where he acquired a phD degree for his
dissertation on “Bengali drama in mediaeval Bengal”.

In 1971, Selim Al Deen took part in the Bangladeshi Liberation War; yet another
outcome of his passionate patriotic sentiments towards his country and culture. He
grew up in rural Bangladesh, and was known for his regard of traditional Bangladeshi
art, culture, folk tales, e.t.c. His experiences of being surrounded with the rich
authentic Bangladeshi rural culture was often portrayed in his theatre productions.

Slide 4 artistic impact;

Actual info;
Synthesis of Traditional and Modern Elements:
● Selim Al Deen skillfully combined elements of traditional Bangladeshi folk
theater, especially the rich traditions of jatra (a form of traditional Bengali
theater), with modern theatrical techniques. This synthesis created a distinctive
style that appealed to a broad audience.
Social and Political Commentary:
● Selim Al Deen's plays often contained strong social and political commentary. He
used the stage as a platform to address societal issues, challenge norms, and
provoke thought. His works reflected his concerns about the human condition,
social justice, and the impact of political events on individuals. (“selim al deen's
personal style and technique of theatre“ prompt. ChatGPT 3.5, OpenAI, 30th Jan
2024, chat.openai.com)

​ Bengali Cultural Renaissance: Selim Al Deen was born in 1949, during a period
when Bangladesh was part of East Pakistan. The Bengali Language Movement of
1952 and the subsequent cultural renaissance played a crucial role in shaping his
artistic sensibilities. This movement emphasized the importance of the Bengali
language and culture, and it had a profound impact on the arts, including theater.
​ Political Turmoil and Liberation War: The political turmoil in East Pakistan,
leading up to the Bangladesh Liberation War in 1971, was a significant influence
on Selim Al Deen. The war for independence had a profound impact on the
socio-political landscape, and Al Deen's experiences during this period informed
 much of his work. His plays often reflected the struggles and aspirations of the
people during this critical period in Bangladeshi history. (“movements or events
that had influenced Selim Al Deens style of theatre” prompt. ChatGPT 3.5,
OpenAI, 30th Jan 2024, chat.openai.com)

(Mowla Brothers, https://boierferiwala.com-pdf/)

Afsar Ahmed recalled his student life when Al Deen was a teacher. ‘Selim Al Deen had an
understanding of our culture and he introduced us to a form of practice which helped us understand
the processes of decolonisation of our theatre,’ he said.(Shahadat Hossain,
https://www.newagebd.net/article/146706/selim-al-deen-remembered)

Selim Al deen introduced epic realism in Bengali literature, and several of his works
including "Bashon", "Atotayi", "Keramat Mangal", "Hat Hodai" and "Chaka" follow
this pattern. He also brought out the folklore tradition called Katha-natya in his
dramas "Joiboti Koinnar Mon" and "Hargaj." Selim Al-Deen also revived
Mymensingh Geetika, and penned a few plays following the pattern. (The Daily Star,
https://www.thedailystar.net/arts-entertainment/event/selim-al-deen-man-all-seasons-1
28515)

Paraphrased;

Selim Al Deens personal style and technique of theatre consisted majorly of the
combining of original ways of Bengali traditional theatre along with elements of
modernised theatre. He was a major partaker in a popular theatre practice of
producing plays that showcased Bangladeshi history of revolt and struggle during
1971 including the histories of the Language Movement and depiction of
Bangladesh as East Pakistan before independence as a means of celebration,
empowerment, and awareness. This theatrical practice was very common just after
the Liberation war in 1971, where Al Deen was also a freedom fighter His plays were
often styled to be inspired by bengali folk tales, and applying these tales into modern
problems while portraying things like societal and political flaws, substantial human
struggle and emotional identities, mental health, discrimination, rebellion against
social norms, justice, e.t.c as ways of theatre activism; something which Al Deen
was very absorbed in and devoted to.

For instance; his renowned play “Chittonkhola '' was set in rural parts of Bangladesh
and surrounded characters who were looked down upon by society for being
different. It included brilliant scenes which portrayed character (Bonoshribala)
laughing while drinking poison and committing suicide; a mentally ill character’s
struggles and how he was tyrannized by others for being admitted in a mental
institution including the mental institute’s incompetency and brutality towards its
patients which eventually worsened their healths. Additionally, it portrayed a
character that did not want to take over his family business and strived for individual
freedom; again being shunned upon by society, a character that got tormented for
changing his religion.

Another one of his works; “Chaka” centred around 2 poor men carrying a dead body
which no one else (none of the elite society) claimed. The body rots to the point that
it releases unbearable scents and is attracting insects as the two of them keep
carrying it, going from home to home trying to find its guardian. They fail in doing so
and instead get accused of murdering the dead body. However worse the situation
gets for the poor men, they do not leave the body or dispose of it, and mourn for the
dead person.

Most of his plays, like this, typically consisted of substantial issues, often aiming to
portray humans and their different mentalities; storylines were also sometimes
adapted from old Bengali folk tales which he put to use to talk about sensitive
issues, spread awareness, and convey the moral variations of mankind which spread
a lot of knowledge within Bangladeshi society at a time when it was not exposed to
a lot of things.

His style of theatre and literature were looked at as an attempt to promote the
decolonisation of art, and appreciate decolonised art.

Conclusion;

Actual info;
Shoma Mumtaz remebbered how Selim Al Deen conceived the department and saw it as a
springboard that would inspire a search for the roots of dramatic performances in the regional
cultures. ‘Al Deen was aware of thousand years of history and he could see how culture would shape
in the next thousand years, such was his artistic vision,’ she said.(Shahadat Hossain,
https://www.newagebd.net/article/146706/selim-al-deen-remembered)

To pursue his love of theatre, Selim Al Deen founded the Drama and Dramatics
Department at Jahangirnagar University.

He was one of the founding members of Dhaka Theatre that played a vital role in the
progressive theatre movement in the post-liberation period. (The Daily Star,
https://www.thedailystar.net/arts-entertainment/event/selim-al-deen-man-all-seasons-1
28515)

Educational Contributions:
● Al Deen made significant contributions to theatre education in Bangladesh. He
served as a professor at the Department of Drama and Dramatics at
Jahangirnagar University. His teachings influenced a new generation of theatre
practitioners, shaping the future of Bangladeshi theatre.

(Mohammad Shahidul Islam, https://en-academic.com/dic.nsf/enwiki/7683801)

(Mohammad Shahidul Islam, https://en-academic.com/dic.nsf/enwiki/7683801)

The impacts that Selim Al Deen left behind included the founding of the Dramatics
department in Jahangirnagar university and serving as a professor there which
significantly promoted theatrical practices in Bangladeshi society and gave birth to a
generation of theatre practitioners who in the future continued the theatre culture in
Bangladesh.

His work had also gained attention internationally and got adapted in different
languages including being performed in english in New York. This majorly helped in
spreading the beauty of Bangladeshi traditions and cultures abroad and helped us
gain admiration on a global scale.

Citations-

“Selim al Deen.” Academic Dictionaries and

Encyclopedias,https://en-academic.com/dic.nsf/enwiki/7683801 .

Accessed 31 Jan. 2024.

Correspondent, Staff. “Selim al Deen: A Man for All Seasons.” The Daily

Star, 18 Aug. 2015,

www.thedailystar.net/arts-entertainment/event/selim-al-deen-man-all-se

asons-128515. Accessed 31 Jan. 2024.

Deshwara, Mintu. “Selim al Deen’s “Chaka” Staged in Srimangal.” The

Daily Star, 1 Sept. 2019,

 www.thedailystar.net/arts-entertainment/theatre/news/selim-al-deens-c

haka-staged-srimangal-1793599. Accessed 31 Jan. 2024.

‌admin. “কিত্তনখোলা নাটক PDF রিভিউ | সেলিম আল দীন | Kittonkhola Selim al Deen.”

বইয়ের ফেরিওয়ালা, 3 May 2021,

boierferiwala.com/%E0%A6%95%E0%A6%BF%E0%A6%A4%E0%A7%8D%E0%A

6%A4%E0%A6%A8%E0%A6%96%E0%A7%8B%E0%A6%B2%E0%A6%BE-%E0%A

6%A8%E0%A6%BE%E0%A6%9F%E0%A6%95-pdf/.Accessed 31 Jan. 2024.

Deen, Selim Al - Banglapedia.en.banglapedia.org/index.php/Deen,_Selim_Al Accessed

29th Jan. 2024.

“selim al deen's personal style and technique of theatre” prompt. ChatGPT 3.5, OpenAI, 28th Jan

2024, chat.openai.com.

“what impact and legacy did selim al deen leave on the world of theatre” prompt.

ChatGPT 3.5, OpenAI, 30th Jan 2024, chat.openai.com.

“major life events of Selim Al Deen” prompt. ChatGPT 3.5, OpenAI, 27th Jan 2024,

chat.openai.com.
“instances where Selim Al Deens establishments have made actual impact on society”

prompt. ChatGPT 3.5, OpenAI, 28th Jan 2024, chat.openai.com.

“what has Selim Al Deen established that has made significant impact on the theatre

industry of Bangladesh” prompt. ChatGPT 3.5, OpenAI, 29th Jan 2024,

chat.openai.com.