Frases de Augusto Boal

Augusto Pinto Boal foi diretor de teatro, dramaturgo e ensaísta brasileiro, uma das grandes figuras do teatro contemporâneo internacional. Fundador do Teatro do Oprimido, que alia o teatro à ação social, suas técnicas e práticas difundiram-se pelo mundo, de maneira notável nas três últimas décadas do século XX, sendo largamente empregadas não só por aqueles que entendem o teatro como instrumento de emancipação política mas também nas áreas de educação, saúde mental e no sistema prisional.

Nas palavras de Boal:



O dramaturgo é conhecido não só por sua participação no Teatro de Arena da cidade de São Paulo , mas sobretudo por suas teses do Teatro do oprimido.

Sua obra escrita é expressiva. Com 22 livros publicados e traduzidos em mais de vinte línguas, suas concepções são estudadas nas principais escolas de teatro do mundo. O livro Jogos Para Atores e Não Atores trata de um sistema de exercícios , jogos e técnicas teatrais além de técnicas do teatro-imagem, que, segundo o autor, podem ser utilizadas não só por atores mas por todas as pessoas. Wikipedia  

✵ 16. Março 1931 – 2. Maio 2009
Augusto Boal photo
Augusto Boal: 15   citações 0   Curtidas

Augusto Boal frases e citações

“Todas as atividades do homem, incluindo-se evidentemente todas as artes, especialmente o teatro, são políticas. E o teatro é a forma artística mais perfeita de coerção. Que o diga Aristóteles.”

"Teatro do Oprimido e outras poéticas políticas" – Página 79; de Augusto Boal – Publicado por Civilização Brasileira, 2005 ISBN 9788520002650

Augusto Boal: Frases em inglês

“I believe in democracy, but in real democracy, not a phony democracy in which just powerful people can speak. For me, in a democracy everyone speaks.”

As quoted in "To Dynamize the Audience: Interview with Augusto Boal" by Robert Enight, Canadian Theatre Review 47 (Summer 1986), pp. 41-49

“In its most archaic sense, theatre is the capacity possessed by human beings—and not by animals—to observe themselves in action.”

Games for Actors and non-Actors (1992)
Contexto: In its most archaic sense, theatre is the capacity possessed by human beings—and not by animals—to observe themselves in action. Humans are capable of seeing themselves in the act of seeing, of thinking their emotions, of being moved by their thoughts. They can see themselves here and imagine themselves there; they can see themselves today and imagine themselves tomorrow. This is why humans are able to identify (themselves and others) and not merely to recognise.

“When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists.”

Games for Actors and non-Actors (1992)
Contexto: When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.

“When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world.”

World Theater Day Message, Geneva, Switzerland (2009)
Contexto: When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.

“Theatre has nothing to do with buildings or other physical constructions. Theatre — or theatricality — is the capacity, this human property which allows man to observe himself in action, in activity.”

The Rainbow of Desire (1995)
Contexto: Theatre has nothing to do with buildings or other physical constructions. Theatre — or theatricality — is the capacity, this human property which allows man to observe himself in action, in activity. The self-knowledge thus acquired allows him to be the subject (the one who observes) of another subject (the one who acts). It allows him to imagine variations of his action, to study alternatives. Man can see himself in the act of seeing, in the act of acting, in the act of feeling, the act of thinking. Feel himself feeling, think himself thinking.

“We are all actors: being a citizen is not living in society, it is changing it.”

World Theater Day Message, Geneva, Switzerland (2009)

“In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life….The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life.”

Games for Actors and non-Actors (1992)
Contexto: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

“Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!”

Games for Actors and non-Actors (1992)
Contexto: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

“This is…how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.”

Games for Actors and non-Actors (1992)
Contexto: Wouldn’t it be wonderful to see a dance piece where the dancers danced in the first act and in the second showed the audience how to dance? Wouldn’t it be wonderful to see a musical where in the first act the actors sang and in the second we all sang together?... This is... how artists should be—we should be creators and also teach the public how to be creators, how to make art, so that we may all use that art together.