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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“Not only does the world scarcely know who the Latin American man is, the world has barely cared.”
—Georgie Anne Geyer (b. 1935)
“We abuse land because we regard it as a commodity belonging to us. When we see land as a community to which we belong, we may begin to use it with love and respect.”
—Aldo Leopold (1886–1948)
“Glorious bouquets and storms of applause ... are the trimmings which every artist naturally enjoys. But to move an audience in such a role, to hear in the applause that unmistakable note which breaks through good theatre manners and comes from the heart, is to feel that you have won through to life itself. Such pleasure does not vanish with the fall of the curtain, but becomes part of one’s own life.”
—Dame Alice Markova (b. 1910)
“He tries by a peculiar speech to speak
The peculiar potency of the general,
To compound the imagination’s Latin with
The lingua franca et jocundissima.”
—Wallace Stevens (1879–1955)
“The deliberate consciousness of America so fair and smooth-spoken, and the under-consciousness so devilish. Destroy! destroy! destroy! hums the under-consciousness. Love and produce! Love and produce! cackles the upper-consciousness.”
—D.H. (David Herbert)