AB

Augusto Boal

18quotes

Augusto Boal: A Theatrical Revolutionary


Full Name and Common Aliases


Augusto Boal was born as Luís Augusto da Silva Boal on March 16, 1931, in Rio de Janeiro, Brazil. He is commonly known as "Boal" among his fans and fellow artists.

Birth and Death Dates


March 16, 1931 – May 2, 2009

Nationality and Profession(s)


Brazilian playwright, director, theatre practitioner, and educator. Boal was a multifaceted artist who explored various mediums, including theatre, film, poetry, and social activism.

Early Life and Background


Growing up in Rio de Janeiro's affluent district of Ipanema, Boal was exposed to the city's vibrant cultural scene from an early age. His parents, both intellectuals, encouraged his interest in art and politics. Boal attended a Catholic school where he began writing plays and engaging with theatre. After graduating, he moved to Paris to study under renowned French playwright Jean-Paul Sartre.

Major Accomplishments


Boal's most significant contributions include:

Developing the Theatre of the Oppressed (TO), an innovative method that empowers marginalized communities to express their stories and struggles through drama.
 Co-founding the Arena Theatre in Rio de Janeiro, a pioneering institution that pushed the boundaries of Brazilian theatre.
Collaborating with Brazilian filmmaker Glauber Rocha on several projects, including the influential film "Black God, White Devil".

Notable Works or Actions


Some notable works by Boal include:

Games for Actors and Non-Actors: A seminal book that outlines TO's principles and practices, co-written with his wife, Adelina Otero.
Theatre of the Oppressed: A collection of essays exploring the intersection of theatre, politics, and social change.
 His extensive work in Latin America, where he used TO to engage marginalized communities in discussions around social justice.

Impact and Legacy


Boal's influence extends far beyond his native Brazil. He inspired a global movement of artists, activists, and educators who use TO as a tool for social transformation. Organizations such as the World Social Forum have incorporated Boal's methods into their workshops and events. His work has also influenced various forms of popular culture, including music, dance, and literature.

Why They Are Widely Quoted or Remembered


Augusto Boal is widely quoted and remembered for his:

Radical approach to theatre: He challenged traditional notions of art as entertainment, instead using it as a means to empower marginalized voices.
 Commitment to social justice: Through TO, he provided tools for people to critique their circumstances and seek change.
* Holistic understanding of art and politics: Boal's work blurred the lines between artistic expression and social activism, demonstrating that these areas are not mutually exclusive.

Boal's legacy serves as a testament to the transformative power of theatre when used as a tool for social change. His ideas continue to inspire artists and activists around the world, ensuring his impact will be felt for generations to come.

Quotes by Augusto Boal

Motion, according to him, is an illusion, because we can demonstrate that it does not actually exist; the same for the multiplicity of existing things, which are in his logic, a single being, infinite, eternal, unchangeable. Like Heraclitus, Parmenides too, had his radical disciple, named Zeno. The latter had the habit of telling two stories to prove the inexistence of motion.
"
Motion, according to him, is an illusion, because we can demonstrate that it does not actually exist; the same for the multiplicity of existing things, which are in his logic, a single being, infinite, eternal, unchangeable. Like Heraclitus, Parmenides too, had his radical disciple, named Zeno. The latter had the habit of telling two stories to prove the inexistence of motion.
AB
Theatre is the most perfect artistic form of coercion.
"
Theatre is the most perfect artistic form of coercion.
AB
Nothing is going to remain the way it is. Let us, in the present, study the past, so as to invent the future.
"
Nothing is going to remain the way it is. Let us, in the present, study the past, so as to invent the future.
AB
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
"
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
AB
It is forbidden to walk on the grass. It is not forbidden to fly over the grass.
"
It is forbidden to walk on the grass. It is not forbidden to fly over the grass.
AB
Theatre is a weapon. For that reason it must be fought for.
"
Theatre is a weapon. For that reason it must be fought for.
AB
The theater itself is not revolutionary: it is a rehearsal for the revolution.
"
The theater itself is not revolutionary: it is a rehearsal for the revolution.
AB
The theater is a weapon, and it is the people who should wield it.
"
The theater is a weapon, and it is the people who should wield it.
AB
We are all actors: being a citizen is not living in society, it is changing it.
"
We are all actors: being a citizen is not living in society, it is changing it.
AB
Anyone can do theater, even actors. And, theater can be done everywhere, even in a theater.
"
Anyone can do theater, even actors. And, theater can be done everywhere, even in a theater.
AB
Showing 1 to 10 of 18 results