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BK

Příručka

2nd ed.

London : Routledge, 2002

xxix, 301 s. : il. ; 25 cm

ISBN 0-415-26708-0 (brož.) ISBN !978-0-415-26708-3 (chyb.)

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CONTENTS // List of figures XXI // Translator’s introduction to the first edition xxii // Translator’s postscript to the second edition xxvii // Preface to the second edition: The Royal Shakespeare Company, theatre in prisons and landless peasants 1 // Postscript - with pride in our hearts 6 // Preface to the first edition: the fable of Xua-Xua, the prehuman woman who discovered theatre 11 // Postscript: aaors and non-aaors 17 // 1 THEATRE OF THE OPPRESSED IN EUROPE 18 // Introduction 18 // The Codrano experience: my first Forum Theatre in // Europe or the ultimate spect-actor/protagonist! 19 // Feminism in Codrano 20 // The police again 21 // The oppressed and the oppressors 23 // 2 THE STRUCTURE OF THE ACTOR’S WORK 29 // The primacy of emotion 29 // Muscular exercises 31 // Sensory exercises 3’ // Memory exercises 32 // • • // VII // CONTENTS // Imagination exercises 32 // Emotion exercises 32 // Rationalising emotion 33 // Ŕ la recherche du temps perdu 37 // The dialectical structure of the actor’s interpretation of a role 40 // The will 40 // The counter-will 43 // The dominant will 45 // Quantitative variation and qualitative variation 46 // 3 THE ARSENAL OF THEATRE OF THE OPPRESSED 48 // Introduction: a new system of exercises and games from Theatre of the Oppressed 48 // Two unities 49 // Five categories of game and exercise 49 // I FEELING WHAT WE TOUCH (RESTRUCTURING MUSCULAR // RELATIONS) 50 // First series: general exercises 50 // 1 The cross and the circle 50

// 2 Colombian hypnosis 51 // 3 Minimum surface contact 56 // 4 Pushing against each other 38 // 5 joe Egg (aka trust circle) 62 // 6 The circle of knots 62 // 7 The actor as ‘subject’: the Greek exercise 64 // 8 The actor as ‘object’ 66 // 9 Lifting someone out of a chair 67 // 10 Equilibrium of the body with an object 67 // 11 A balloon as an extension of the body 68 // 12 Racing on chairs 68 // 13 Rhythm with chairs 68 // 14 Musical chairs 69 // 15 Movement with over-premeditation 69 // 16 Difficulties 69 // 17 Divide up the movement 70 // 18 Dissociate coordinated movements 70 // • • • // Vili // CONTENTS // Second series: walks // 1 Slow motion // 2 At a right angle // 3 Crab // 4 Crossed legs (aka three-legged race) // 5 Monkey // 6 All fours // 7 Camel walk // 8 Elephant walk // 9 Kangaroo walk // io Leaning-against-each-other walk n Strapped-feet walk // 12 Wheelbarrow // 13 As you like it // 14 Imitating others // Third series: massages // 1 In a circle // 2 The movement comes back // 3 Sea waves // 4 The rolling carpet // 5 Back massage // 6 The demon // Fourth series: integration games // 1 Person to person, Quebec-style // 2 The bear of Poitiers // 3 The chair // 4 Leapfrog // 5 The Brueghel game // 6 Stick in the mud // 7 Grandmother’s footsteps // 8 Millipede // 9 Apple dance // 10 Sticky paper // 11 The wooden sword of Paris // 12 American football (aka British bulldog) // 13 Three Irish duels // 14 Little packets // 15 Cat and mouse // 70 // 71

// 72 72 // 72 // 73 73 73 73 73 // 73 // 74 74 74 74 // 74 // 75 // 8i // 81 // 81 // 82 // 82 // 83 83 // ix // // CONTENTS // 16 Homage to Tex Avery - cat and dog(s) 84 // 17 The handkerchief game (aka the hat game, aka dog and bone) 84 // 18 Good day 85 // 19 Cadavre exquis (aka consequences) 85 // 20 The parachute 86 // 21 Balance with an object 86 // Fifth series: gravity 86 // 1 Horizontality sequence 87 // 2 Verticality sequence 88 // 3 Sequence of rectilinear and circular movements 89 // II LISTENING TO WHAT WE HEAR 92 // First series: rhythm 92 // 1 A round of rhythm and movement 92 // 2 Game of rhythm and movement 93 // 3 Changing rhythms 93 // 4 The machine of rhythms 94 // 5 The Peruvian ball game 96 // 6 The clapping series 97 // 7 West Side Story 98 // 8 The Portuguese rhythmic shoes 99 // 9 The two brooms 100 // 10 The four brooms jpi // 11 Horseshoe rhythms 101 // 12 Circular rhythms loi // 13 The big chief 101 // 14 The orchestra and the conductor 101 // 15 Rhythm dialogue in teams 102 // 16 Chain rhythm dialogue 102 // 17 Pretend Brazilian ’Indians’ 102 // 18 Lines of five 104 // 19 The president’s bodyguards 104 // 20 Walk, stop, justify 104 // 21 Carnival in Rio 104 // 22 Bolivian mimosas 105 // 23 How many ’A’s in a single ‘A’? 106 // 24 Two by three by Bradford 106 // x // CONTENTS // 25 Crossing the room 107 // 26 Circle of names of Belo Horizonte 107 // 27 Circle of rhythms of Toronto 107 // Second series: melody 108 // 1 Orchestra // 2 Music

and dance 108 // Third series: sounds and noises 108 // 1 Sound and movement ’08 // 2 Ritual sound 1°9 // Fourth series: the rhythm of respiration // 1 Lying on your back completely relaxed // 2 Leaning against a wall // 3 Standing up straight // 4 Breathe in slowly $ Explosion // 6 Breathe in slowly while lifting the arms // 7 The pressure cooker // 8 Breathe in as quickly as possible // 9 Breathe in as slowly as possible // 10 Breathe in deeply through the mouth // 11 Breathe in with clear definition and lots of energy // 12 Two groups // 13 Breathe out, standing in a circle // 14 One actor pretends to pull the stopper out of another’s body // 15 A, E, I, O, U // 16 All the actors, standing facing the wall // 17 Two groups of actors, facing each other // 18 With their bodies in maximum possible contact with the floor // 19 Lying on their backs on tables // 109 // no // no // no // no // no // 111 // 111 // in // 111 // in // in // 112 // 112 // 112 // ?? // "3 // ”3 // ?? // II4 // Fifth series: internal rhythms ”4 // 1 Rhythmic images ”4 // III DYNAMISING SEVERAL SENSES 14 // The blind series ”5 // 1 The point of focus, the embrace and the handshake 115 // 2 Noises // CONTENTS // 3 The imaginary journey 117 // 4 The glass cobra ng // 5 One blind line, one sighted line ng // 6 The magnet - positive and negative ng // 7 Swedish multiple sculpture 120 // 8 The vampire of Strasbourg 120 // 9 The blind car 121 // ? What is the object? 121 // n The smell of hands 122

12 The figure-of-eight chicane 122 // 13 Goalkeeper 122 // 14 Friend and enemy 122 // 15 Draw your own body 123 // 16 Modelling clay 124 // 17 Touch the colour 124 // 18 The blind person and the bomb 125 // 19 Find the hand 125 // 20 The siren’s song 125 // 21 Find a convenient back 126 // 22 The melodic hand 126 // 23 The sound of the seven doorways 127 // 24 Recognising the ‘Aaah!’ 127 // The space series 127 // 1 Without leaving a single space in the room empty 127 // 2 Instead of simply saying‘Stop’, the Joker says a number -128 // 3 The Joker says a number and a geometric figure 128 // 4 The Joker says a number and a part of the body 128 // 5 The Joker calls out a colour and an item of clothing 128 // 6 The participants run slowly 128 // 7 The participants touch each other 129 // IV SEEING WHAT WE LOOK AT izg // The mirrors sequence 129 // 1 The plain mirror 130 // 2 Subject and image swap roles 130 // 3 Subject-image, image-subject 130 // 4 Everyone joins hands 131 // xii // CONTENTS // 5 The two lines form a curve 132 // 6 Symmetrical groups 132 // 7 The mirror breaks 13? // 8 Changing partners 133 // 9 The distorting mirror 134 // 10 The narcissistic mirror 134 // 11 The rhythmic mirror 135 // 12 Unification 135 // The modelling sequence 136 // 1 The sculptor touches the model 136 // 2 The sculptor doesn’t touch the model 137 // 3 The sculptors spread out around the room 138 // 4 The sculptors fashion a single sculpture together 138 // 5 Sculpture with four

or five people 138 // The puppet sequence 138 // 1 String puppet 139 // 2 String puppet with rod 139 // Image games 139 // 1 Complete the image 139 // 2 Ball games 140 // 3 Boxing match 141 // 4 One person we fear, one person is our protector 141 // 5 Furnish the empty space 142 // 6 Atmosphere of snow - 142 // 7 Building character relations 143 // 8 Characters in movement 143 // 9 Observation 143 // 10 Complementary activities 143 // n What has changed? 144 // 12 Tell your own story 144 // 13 The antiquated telephone exchange 144 // 14 Concentration .. _ 144 // 15 Animals M5 // 16 Professions ?6 // 17 The balancing circle 147 // 18 The ‘Indian’ in the city, the city dweller in the forest 148 // xiii // CONTENTS // Games of mask and ritual 148 // 1 Follow the master 148 // 2 Follow two masters - who metamorphose into each other 149 // 3 Rotation of masks 149 // 4 Unification of masks 149 // 5 Collective creation of a mask 150 // 6 Addition of masks 150 // 7 Pushing the mask to its extremity and nullifying it 150 // 8 Following the master in his own mask 150 // 9 Changing masks 151 // ? Mask exchange 151 // 11 The masks of the actors themselves 152 // 12 Substitution of mask 153 // 13 Separation of mask, ritual and motivation 153 // 14 Changing a whole set of masks into a different social class 154 // 15 Making the mask all-encompassing 155 // 16 Changing actors mid-ritual 156 // 17 A round of masks in different circumstances 156 // 18 Natural and ridiculous 156 // 19 Several

actors on stage 156 // 20 The game of complementary roles 137 // 21 The politicians game 157 // 22 Exchange of masks 157 // 23 Exchange of roles 138 // 24 Fainting at Fréjus 158 // 25 The designated leader 138 // 26 The clown of Amsterdam 139 // 27 The animals of Vienna 159 // 28 Looking first at one another and then at the same spot 139 // 29 Cookies T39 // The image of the object 160 // 1 The found object 160 // 2 The object transformed 161 // 3 The object created out of simple things 161 // 4 Homage to Magritte - ’This bottle is not a bottle’ 161 // The invention of space and the spatial structures of power 162 // 1 Space and territory 162 // 2 Inventing the space in a room 162 // CONTENTS // 3 The great game of power 163 // 4 Chairs in the empty space  3 // 3 Where is my place? 1 3 // 6 Six chairs l64 // 7 Photographing the image ’64 // Games involving the creation of characters 465 // 1 Murder at the Hotel Agato 16s // 2 Cops and robbers 1 5 // 3 The embassy ball 166 // 4 The child’s dream - what I wanted to be when I grew up 166 // 5 The child’s fear  7 // 6 What grown-ups wanted me to be ’68 // 7 The opposite of myself // 8 The two revelations of Saint Teresa 169 // 9 The fighting cocks ’70 // 10 Catchphrases ’70 // 11 What am I? What do I want? ’7° // 12 The blank character ’70 // V THE MEMORY OF THE SENSES 171 // Reconnecting memory, emotion and imagination i?1 // 1 Memory: remembering yesterday ,71 // 2 Memory and emotion: remembering a day in the past 172

// 3 Memory and emotion and imagination 172 // 4 Remembering an actual oppression >73 // 5 Rehearsal on the stage of the imagination 173 // 6 Extrapolation ’74 // IMAGE THEATRE ’74 // Image techniques: models and dynamisations 176 // 1 (a) Image of the word: illustrating a subject with your body 176 // 1 (b) Image of the word: illustrating a subject using other people’s bodies // 2 Image of transition  5 // 3 Multiple image of oppression ’86 // 4 Multiple image of happiness ’89 // XV // CONTENTS // 5 Image of the group // 6 Ritual gesture // 7 Ritual // 8 Rituals and masks // 9 The image of the hour ? The kinetic image // n The merry-go-round of images // Images of transition - the technique in action Examples from Europe // New Image Theatre techniques: the cop in the head // 1 Dissociation - thought, speech, action // 2 The analytical image: the multiple mirror of how others see us // 3 Somatisation // 4 The circuit of rituals // 5 The three wishes // 6 The polyvalent image // 7 The screen image // 8 The image of the image // Four very simple demonstrations of embryos of Forum Theatre pieces, based on projected images // 191 // ’93 // 198 // 201 201 // 202 202 // 203 // 203 // 206 // 207 // 208 211 211 212 213 // 213 // 214 // 215 // REHEARSAL EXERCISES FOR ANY KIND OF PLAY // 217 // Exercises with or without script // 1 Improvisation // 2 The dark room // 3 One story told by several people // 4 Change the story // 5 One line spoken by several actors // 217 // 217 // 219

// 219 // 219 // 220 // Games of emotional dynamisation // 1 Breaking the oppression // 2 The oppressor’s confession // 220 // 220 // 222 // Emotional warm-up exercises // 1 Abstract emotion // 2 Abstract emotion with animals // 3 Abstract emotion, following the master // 4 Animals or vegetables in emotional situations! // 222 // 222 // 223 223 223 // XVI // CONTENTS // 5 Ritual in which everyone becomes an animal 224 // 6 Stimulation of the dormant parts of ourselves 224 // Ideological warm-up // 1 Dedication // 2 Reading newspapers 225 // 3 The evocation of historic events 226 // 4 Lessons 226 // Exercises for the preparation of a Forum Theatre model or for // the rehearsal of other kinds of theatre 226 // 1 Play to the deaf 226 // 2 Stop! Think! 227 // 3 Interrogation 227 // 4 The reconstruction of the crime 228 // 5 Analytical rehearsal of motivation 228 // 6 Analytical rehearsal of emotion 229 // 7 Analytical rehearsal of style 229 // 8 Opposite circumstances 229 // 9 Artificial pause 23° // ? Self-interrogation 23° // n Opposite thought 23° // 12 Rehearsal of the cue 231 // 13 Two touches 231 // 14 Silence on set - Action! 232 // 15 Invisible characters 232 // 16 Before and after 232 // 17 Transference of emotion 232 // 18 Slow motion 233 // 19 Sensory focus 233 // 20 Low volume 233 // 21 Exaggeration 234 // 22 Free-style rehearsal 234 // 23 Reconnaissance 234 // 24 Caricature . - - 235 // 25 Swapping characters 235 // 26 Need versus will 235 // 27 The rhythm of scenes 236

// 28 Rashomon 236 // 29 Keep talking 237 // XVII // V/1 // CONTENTS // 30 The ceremony 237 // 31 Secret whispers 237 // 32 I don’t believe you 238 // 33 Long Beach telegram 238 // 34 Holy theatre 238 // 35 Analogy 238 // 36 The tick-tock sequence 238 // 4 THE EARLY FORMS OF FORUM THEATRE 241 // Introduction 241 // The rules of the game 242 // Dramaturgy 242 // Staging 243 // The performance game 243 // Examples of Forum Theatre 245 // 1 Agrarian reform seen from a public bench 245 // 2 The people judge a secret policeman 247 // 3 Leader at work, slave in the home 248 // 4 The return to work at the Crédit Lyonnais 249 // 5 The nuclear power station 249 // 5 FORUM THEATRE: DOUBTS AND CERTAINTIES: INCORPORATING A NEW METHOD OF REHEARSING // AND DEVISING A FORUM THEATRE MODEL 253 // Twenty fundamental topics 254 // 1 Oppression or aggression? 254 // 2 The style of the model 256 // 3 Do the problems have to be urgent or not? Should they be // simple or complex? 258 // 4 Do we have to arrive at a solution or not? 259 // 5 Does the model of the future action need to be depicted or not? 260 // 6 Model or anti-model? Error or doubt? 260 // 7 The conduct of the joker 260 // 8 Theatricality or reflection? 262 // 9 The staging 263 // 10 The function of the warm-up 264 // n The function of the actor 265 // xviii // CONTENTS // 12 The repeated scene 266 // 13 Macrocosm and microcosm 266 // 14 How to replace a character without transforming it into another 267 // 15 What is a ‘good’

oppression? 268 // 16 Who can replace whom? 269 // 17 How should a ‘model’ be rehearsed? 271 // 18 Can a forum change themes? 273 // 19 Can people remain ‘spectators’ in a Forum Theatre session? 274 // 20 When does a session of Theatre of the Oppressed end? 275 // 6 FIRST EXPERIENCES WITH INVISIBLE THEATRE 277 // Examples of Invisible Theatre 277 // 1 Sexual harassment 277 // 2 Queen Silvia’s baby 280 // 3 Racism I: the Greek 282 // 4 Racism II: the black woman 283 // 5 Picnic in the streets of Stockholm 285 // 6 The audience’s children 287 // 7 ARTISTIC CREATION AND DIVINE MADNESS: // A MEDITATION ON ART AND THE MIRACULOUS 289 // Passion and art 293 // The mad artist and the artist madman 296 // POSTSCRIPT: THE PEDAGOGY OF FEAR -THEATRE AND THE TWIN TOWERS: // AN ESSAY AFTER 11 SEPTEMBER, 2001 // 298