Augusto Boal's Juegos para actores y no actores PDF

By Augusto Boal

«Boal ha conseguido lo que Brecht soñó: crear un teatro útil que resulte entretenido, divertido e instructivo. Es una clase diferente de teatro, una especie de terapia social -centra l. a. mente, relaja el espíritu y proporciona a las personas una nueva perspectiva para su propia situación.»

Richard Schechner

«Esta es una útil guía para profundizar en el Teatro del Oprimido de Boal. Hay que dar l. a. bienvenida a su publicación, el trabajo de Boal merece y exige ser imitado.» Theatre examine International

Juegos para actores y no actores se inscribe en el movimiento teatral creado por Augusto Boal conocido como Teatro del Oprimido. Una corriente nacida en los angeles década de los cincuenta en Brasil, en el seno de una renovación cultural generalizada que se desarrolla en torno a un principio esencial: l. a. práctica del arte escénico como una actividad dedicada a los angeles mejora efectiva de los angeles vida de los grupos sociales menos favorecidos. Se trata ante todo de facilitar el reconocimiento de los angeles naturaleza de las opresiones, para poderlas combatir.

El Teatro del Oprimi-do, corolario de l. a. filosofía del reencuentro entre teatro y sociedad que Augusto Boal ha gestado, requiere para su práctica de un conjunto de ejercicios, más de cuatrocientos, recogidos en Juegos para actores y no actores y dirigidos tanto a actores profesionales como a aficionados. Más allá de sus orígenes teatrales, Juegos para actores y no actores se ha impuesto en todo el mundo como un texto basic en diversas actividades humanísticas: psicología, psicoterapia, arte, educación, trabajo social y trabajo político.

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Example text

Then, once at luncheon, perhaps, he got an eyeful of grapefruit juice. He associated the two ideas, and the result—a charming foolery. THE CREATURE: I doubt that he thought it out that way. I: Certainly not. But unconsciously he went through the whole process. How do you expect to learn your craft if you don’t analyze what has been already achieved? Then forget about it all and go after your own achievements. THE CREATURE: What do you do when you find places in the part where you cannot apply that “to be” of yours?

THE CREATURE: Stage action? I: Dramatic action which the writer expresses in words, having that action as the purpose and goal of his words, and which the actor performs, or acts, as the word actor itself implies. THE CREATURE: That is exactly what it is impossible to do in the talkies. I had a love scene, two and a half pages in the script, and when I was acting it I was interrupted eleven times. It took the whole day. My action was to convince the man who loved me that I loved him too, but was terrified by his father’s hatred of me.

I: Bravo! Bravo! As the director I’m through. With your help we have established the trunk or “spine”. Now, let’s turn to the sap. THE CREATURE: Meaning the author…? I: Exactly Is that nice? THE CREATURE: (Runs away from me, claps her hands, and laughs with the most childish satisfaction. ) I: We are even. Let’s continue, and analyze the words in terms of action. Let’s take your part. What did you do at the beginning of the play? THE CREATURE: I complained… I: …Bitterly and exaggeratedly… THE CREATURE: …I scorned and despised… I: …With the charming resolution of youth.

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Juegos para actores y no actores by Augusto Boal


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