Community Theatre - Community Theatre in Latin America

Community Theatre in Latin America

Partly inspired by Antonio Gramsci's interpretation of culture, the seminal theatre practitioner Augusto Boal developed a series of techniques known as the Theatre of the Oppressed from his work developing community theatre in Latin America.

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    Latin America is very fond of the word “hope.” We like to be called the “continent of hope.” Candidates for deputy, senator, president, call themselves “candidates of hope.” This hope is really something like a promise of heaven, an IOU whose payment is always being put off. It is put off until the next legislative campaign, until next year, until the next century.
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    The heroes of the world community are not those who withdraw when difficulties ensue, not those who can envision neither the prospect of success nor the consequence of failure—but those who stand the heat of battle, the fight for world peace through the United Nations.
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    Compare ... the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the season they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.
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    It is worth the expense of youthful days and costly hours, if you learn only some words of an ancient language, which are raised out of the trivialness of the street, to be perpetual suggestions and provocations. It is not in vain that the farmer remembers and repeats the few Latin words which he has heard.
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    Outside America I should hardly be believed if I told how simply, in my experience, Dover Street merged into the Back Bay.
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