The Routledge companion to Theatre of the Oppressed / edited by Kelly Howe, Julian Boal, José Soeiro.
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TextPublisher: London : Routledge, 2019Description: 440 pages : illustrations (black and white) ; 25 cmContent type: text | still image Media type: unmediated Carrier type: volumeISBN: 9781138291027 (hbk.) :Subject(s): Boal, Augusto -- Criticism and interpretation | Theater and society | Theater -- Political aspects | Theater -- Philosophy | Theatrical producers and directors -- Interviews | Performing Arts | Performing ArtsDDC classification: 792'.01 Summary: Offers a comprehensive companion to the theory and practice of Theatre of the Oppressed. Developed by Brazilian director and theorist Augusto Boal, these theatrical forms invite people to mobilize their knowledge and rehearse struggles against oppression. Featuring a diverse array of voices (many of them as yet unheard in the academic world), the book hosts dialogues on the following questions, among others: Why and how did Theatre of the Oppressed develop? What are the differences between the 1970s (when Theatre of the Oppressed began) and today? How has Theatre of the Oppressed been shaped by local and global shifts of the last 40-plus years? Why has Theatre of the Oppressed spread or 'multiplied' across so many geographic, national, and cultural borders? How has Theatre of the Oppressed been shaped by globalization, 'development,' and neoliberalism?
| Item type | Current library | Home library | Shelving location | Class number | Status | Date due | Barcode | Item reservations | |
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Paul Hamlyn Library | Paul Hamlyn Library | Floor 3 | 792.01 ROU (Browse shelf(Opens below)) | Available | 06655017 |
Offers a comprehensive companion to the theory and practice of Theatre of the Oppressed. Developed by Brazilian director and theorist Augusto Boal, these theatrical forms invite people to mobilize their knowledge and rehearse struggles against oppression. Featuring a diverse array of voices (many of them as yet unheard in the academic world), the book hosts dialogues on the following questions, among others: Why and how did Theatre of the Oppressed develop? What are the differences between the 1970s (when Theatre of the Oppressed began) and today? How has Theatre of the Oppressed been shaped by local and global shifts of the last 40-plus years? Why has Theatre of the Oppressed spread or 'multiplied' across so many geographic, national, and cultural borders? How has Theatre of the Oppressed been shaped by globalization, 'development,' and neoliberalism?
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