Palcos Políticos
Activist Theater in São Paulo, Brazil, at the Turn of the Millenium
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São Paulo, Brazil, boasts one of the most dynamictheater scenes in the world. While it is generallyagreed that an engaged, activist theater once existedthere, it is widely held that meaningful,sociopolitically engaged dramatic production ceasedwith the end of the military dictatorship in 1985.This book contends that activist theater is in factthriving and that recent years have seen significantgrowth in dynamic, engagé theater in São Paulo. Afterlaying out a theoretical framework, this bookexamines how two of the greatest names in activisttheater, Augusto Boal and Bertolt Brecht, interactan...
São Paulo, Brazil, boasts one of the most dynamic
theater scenes in the world. While it is generally
agreed that an engaged, activist theater once existed
there, it is widely held that meaningful,
sociopolitically engaged dramatic production ceased
with the end of the military dictatorship in 1985.
This book contends that activist theater is in fact
thriving and that recent years have seen significant
growth in dynamic, engagé theater in São Paulo. After
laying out a theoretical framework, this book
examines how two of the greatest names in activist
theater, Augusto Boal and Bertolt Brecht, interact
and how they fit into the broader context of theater
history. Chapters two and three examine two specific
activist theater troupes in depth: Folias d Arte and
Teatro União e Olho Vivo, the latter more established
and working in poor peripheral neighborhoods and the
former relatively new and centered in the bustling
center of South America s largest metropolis. Chapter
four offers a more panoramic view of the current
state of the overall contemporary activist theater
scene in São Paulo, clearly showing that
sociopolitically engaged theater is alive and well in
that city.
theater scenes in the world. While it is generally
agreed that an engaged, activist theater once existed
there, it is widely held that meaningful,
sociopolitically engaged dramatic production ceased
with the end of the military dictatorship in 1985.
This book contends that activist theater is in fact
thriving and that recent years have seen significant
growth in dynamic, engagé theater in São Paulo. After
laying out a theoretical framework, this book
examines how two of the greatest names in activist
theater, Augusto Boal and Bertolt Brecht, interact
and how they fit into the broader context of theater
history. Chapters two and three examine two specific
activist theater troupes in depth: Folias d Arte and
Teatro União e Olho Vivo, the latter more established
and working in poor peripheral neighborhoods and the
former relatively new and centered in the bustling
center of South America s largest metropolis. Chapter
four offers a more panoramic view of the current
state of the overall contemporary activist theater
scene in São Paulo, clearly showing that
sociopolitically engaged theater is alive and well in
that city.
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