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By Augusto Boal

El arco iris del deseo, un título que presentamos en versión revisada por Augusto Boal, abre una nueva etapa de investigación en l. a. trayectoria de su Teatro del Oprimido, se trata del teatro al servicio de l. a. liberación personal.
Partiendo de sus conocidas técnicas teatrales desarrolladas a lo largo de más de cincuenta años contra l. a. opresión social y política -en las que el espectador se torna espect-actor pudiendo incidir en l. a. propia escena-, Augusto Boal logra canalizar los angeles energía transformadora de los angeles representación teatral hacia l. a. psicología.

El autor parte de los angeles hipótesis de que l. a. opresión –o “poli”, como él mismo lo expresa-, en muchas ocasiones, se encuentra principalmente en l. a. cabeza de cada individuo, a pesar de que los verdaderos cuarteles de represión policial estén afuera.
El arco iris del deseo presenta una parte teórica, donde Boal explica su experiencia de trabajo en talleres teatrales y centros clínicos y otra parte eminentemente práctica donde, mediante l. a. exposición y ejemplos de técnicas prospectivas, introspectivas y de extraversión, el lector encuentra los ejercicios que le permiten enfrentar sus propios miedos y prejuicios internos causantes en muchos casos de las opresiones más esquivas a un primer análisis –como pueden ser los angeles soledad, el miedo al vacío, los angeles incapacidad para comunicarse, por citar algunas- pero no por ello menos lastrantes.
Las técnicas que propone Boal resultan, según su propia experiencia, una forma eficaz de liberar al actor. Con El arco iris del deseo, Augusto Boal abre los angeles puerta a una valiosísima propuesta de investigación capaz de conectar los angeles representación teatral y los angeles psicología.

Augusto Boal (Río de Janeiro, 1931-2009), estudió en l. a. «School of Dramatic Arts» de l. a. Universidad de Columbia, en Estados Unidos. Además de director y pedagogo, es autor de varios libros sobre técnica teatral, basados en su propia experiencia, entre los que destacan Teatro del oprimido, germen de sus trabajos posteriores contra los angeles opresión, y Juegos para actores y no actores, ambos publicados en Alba.
Su obra ha sido traducida a más de veinticinco idiomas Dirigió durante años un centro de Teatro del Oprimido en París y otro en Río de Janeiro.

Augusto Boal ha sido premiado, entre otras instituciones, por los angeles UNESCO, las Universidades de Nebraska, Göteborg, el Instituto de Teatro de Puebla (México), L´Institut de Teatre de Barcelona y, recientemente, ha sido nombrado health care professional Honoris Causa de los angeles Universidad Queen Mary de Londres.

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A “new” production of a Shakespeare, the Greeks, or The Rite of Spring. But what’s happening today is different. The key works of the 1960s were videotaped and later digitized. So people today can look at those performances in detail and re-enact them, the performances themselves, not just the texts, the words. This is not true of earlier periods, of the works of Brecht, Meyerhold, Stanislavsky, and so on. We have photographs, some film clips, but not anything approaching a full set of productions, digitized and available.

The tendency to conserve and recycle is hugely helped by the easy availability of what amounts to an infinite archive, digitally preserved. The explosion of access to information and the ease with which this information can be processed creates a respect for the past. First, a personal past – my work, my family, my archive – then next a shared set of domains always increasing as time marches on and technology reaches further back as retrieval skills, software, and mainframes improve. Older works formerly locked in difficult-to-view archives are increasingly available digitally.

These pieces, theatrical and political simultaneously, were closer to Happenings than to orthodox theatre. But, unlike many Happenings, which were usually small-scale and apolitical, the Living’s works were enormous and fully politically engaged. Beck was a visionary designer in the line of Vsevolod Meyerhold–Lyubov Popova Constructivism. Away from Drama, Going toward Environmental Theatre My own work at about the same time, both in New Orleans from 1963 to 1967 with the Free Southern Theatre and the New Orleans Group and then in New York from the fall of 1967 onward with the Performance Group, conformed to and diverged from the Living.

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El arco iris del deseo by Augusto Boal


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