[nyfoil-l] Fwd: NYC: 2007 Boal Workshops Filling Up--Apply Now

Ashwini Rao ash at insaf.net
Tue Mar 27 17:08:22 CDT 2007


NY area folks,
This is an exciting opportunity to do a theater of the oppressed  
workshop with Boal.
Please see the details below.

ash


>
>
>
> Please forward or repost
>
>
> The Theater of the Oppressed Laboratory (TOPLAB)
> 451 West Street
> New York, New York 10014
> (212) 924-1858
> toplab at toplab.org
> http://www.toplab.org
>
>
> ====================================================================== 
> ==
> IMPORTANT: The Rainbow of Desire workshop (June 2-4) is completely
> filled and all new applicants will be placed on a waiting list. If any
> of the currently-enrolled participants drop out new enrollees will be
> drawn from the list.
>
> There are still a few places available in the Experimental Image  
> Theater
> Techniques and Dialogues on the Aesthetics of the Oppressed workshop
> (June 5-7). Note that this is an advanced workshop, designed primarily
> for people with Theater of the Oppressed experience who are currently
> using those techniques in their work. If you do not have TO experience
> you should apply for the Rainbow of Desire workshop and get on the
> waiting list for that workshop.
> ====================================================================== 
> ==
>
>
> The Theater of the Oppressed Laboratory, founded in 1990
>
> presents
>
> Two Master Workshops in Theater of the Oppressed
>
> facilitated by Augusto Boal, Julian Boal and Marie-Claire Picher
>
> Saturday, June 2 through Thursday, June 7, 2007
>
> at the Brecht Forum
> 451 West Street
> (between Bank and Bethune Streets,
> 1-1/2 blocks north of West 11 Street)
> New York City
>
> ======================================================================
> "We must emphasize: What Brecht does not want is that the spectators
> continue to leave their brains with their hats upon entering the
> theater, as do bourgeois spectators."     --Augusto Boal
> ======================================================================
>
> *****
>
> Workshop #1: The Rainbow of Desire (June 2, 3, 4)
>
> Workshop #2: Experimental Image Theater Techniques and Dialogues on  
> the
> Aesthetics of the Oppressed (June 5, 6, 7)
>
> **
>
> Workshop #1: The Rainbow of Desire (an Image Theater technique)
>
> THIS WORKSHOP IS FILLED. NEW APPLICANTS WILL BE PLACED ON A WAITING
> LIST.
>
> Saturday, June 2 from 10:00 am to 6:00 pm,
> Sunday, June 3 from 10:00 am to 6:00 pm, and
> Monday, June 4 from 10:00 am to 5 pm and 7:00 pm* to 10:00 pm*  
> (*public
> performance-demonstration)
>
> Rainbow of Desire is a technique similar to Cop-in-the-Head. Where Cop
> uses games and exercises to recognize and confront internalized  
> forms of
> oppression, Rainbow of Desire deals with conflicting needs, desires  
> and
> wants within individuals and explores power relations and collective
> solutions to concrete problems. This is a method and set of techniques
> that is especially useful for teachers and educators who work with
> disadvantaged populations, social workers, psychologists and mental
> health professionals, and community activists and organizers who are
> involved with marginalized constituencies and constituencies which  
> have
> traditionally been the victims of bias and discrimination.
>
> Tuition: $475
>
> **
>
> Workshop #2: Experimental Image Theater Techniques and Dialogues on  
> the
> Aesthetics of the Oppressed
>
> Tuesday, June 5 from 10:00 am to 6:00 pm,
> Wednesday, June 6 from 10:00 am to 6:00 pm, and
> Thursday, June 7 from 10:00 am to 4:00 pm
>
> This is an advanced workshop designed for people who have extensive
> experience as Theater of the Oppressed facilitators and who are
> currently active TO practitioners. Detailed theoretical and practical
> dialogues and discussions with Augusto Boal on aspects of TO
> principles, praxis and facilitation will be integrated into this
> workshop, and a colloquium on Boal's new ideas and recent formulations
> concerning the aesthetics of the oppressed will be included.
>
> Note: People with little or no Theater of the Oppressed experience
> should not apply for this workshop but should make an application for
> workshop #1, The Rainbow of Desire, instead.
>
> Tuition: $475
>
> *****
>
> Application process:
>
> Each workshop has limited enrollment, and we expect that demand  
> will be
> far greater than the number of available places. Therefore, we have
> created a schedule of priority that will partly help us determine  
> who is
> accepted and who is not:
>
> 1. People who have participated in the TOPLAB Internship Program in
> recent years have priority over all other applicants.
>
> 2. People who have previously attended TOPLAB workshops with Augusto
> Boal and Julian Boal, and people who have participated in other TOPLAB
> training workshops have second priority.
>
> 3. People who are actively involved with a community or
> constituency-based organization which is concerned with issues of  
> social
> justice, or who are engaged in an active way with an organization or
> movement fighting for progressive social change have third priority.
>
> People who do not fit into categories 1-3, above, should send a  
> detailed
> application to toplab at toplab.org and answer the following questions:
>
> a. Please tell us what, if any, experience you have had with  
> Theater of
> the Oppressed, or with theater generally. (Note that theater  
> experience
> or background is not in and of itself a sufficient criterion for
> acceptance. Similarly, lack of theater experience does not disqualify
> anyone from being accepted. Most participants in TOPLAB workshops have
> not had any theater or drama training.)
>
> b. Tell us about your involvement in or work with social-change
> movements or organizations.
>
> c. What do you hope to get out of these workshops? Do you plan to use
> the techniques in your social action work? How?
>
> d. Are you a member of a labor union? If so, which one? Are you a
> student? If so, where? Are you a teacher? If so, where?
>
> e. Tell us about any foreign travel experience, especially in
> underdeveloped or developing countries.
>
> f. How did you hear about the Theater of the Oppressed and the Theater
> of the Oppressed Laboratory?
>
> g. Any other comments?
>
> *****
>
> The Theater of the Oppressed, established in the early 1970s by
> Brasilian director and Workers' Party (PT) activist Augusto Boal, is a
> form of popular theater, of, by, and for people engaged in the  
> struggle
> for liberation. More specifically, it is a rehearsal theater designed
> for people who want to learn ways of fighting back against  
> oppression in
> their daily lives. In the Theater of the Oppressed, oppression is
> defined, in part, as a power dynamic based on monologue rather than
> dialogue; a relation of domination and command that prohibits the
> oppressed from being who they are and from exercising their basic  
> human
> rights. Accordingly, the Theater of the Oppressed is a participatory
> theater that fosters democratic and cooperative forms of interaction
> among participants. Theater is emphasized not as a spectacle but  
> rather
> as a language designed to: 1) analyze and discuss problems of  
> oppression
> and power; and 2) explore group solutions to these problems. This
> language is accessible to all.
>
> Bridging the separation between actor (the one who acts) and spectator
> (the one who observes but is not permitted to intervene in the
> theatrical situation), the Theater of the Oppressed is practiced by
> "spect-actors" who have the opportunity to both act and observe,  
> and who
> engage in self-empowering processes of dialogue that help foster
> critical thinking. The theatrical act is thus experienced as conscious
> intervention, as a rehearsal for social action rooted in a collective
> analysis of shared problems of oppression. This particular type of
> interactive theater is rooted in the pedagogical and political
> principles specific to the popular education method developed by
> Brazilian educator Paulo Freire: 1) to see the situation lived by the
> participants; 2) to analyze the root causes of the situation; and  
> 3) to
> act to change the situation following the precepts of social justice.
>
> Augusto Boal
>
> Augusto Boal is a political activist and major innovator of
> post-Brechtian theater. He served as Artistic Director of the Arena
> Theater in Sao Paulo from 1956 to 1971. In the 1970s, he came under
> attack by the Brasilian government, resulting in his imprisonment,
> torture and subsequent exile. Boal has lectured, conducted workshops,
> and mounted productions throughout North and South America, Europe,
> India and Africa, and has written a number of books, including Theater
> of the Oppressed; Games for Actors and Non Actors; and The Rainbow of
> Desire. An activist in the Brasilian Workers' Party (PT), he presently
> resides in Rio de Janeiro. In 1992, he was elected to the City Council
> of Rio, a post he held for four years. Once installed in office, he
> adapted his theater techniques for use in city politics, with some
> hilarious--and sometimes rancorous--results. Members of the Center for
> the Theater of the Oppressed became Boal's City Council staff, and
> created seventeen companies of players practicing "Legislative  
> Theater"
> throughout the city. Currently, Boal continues to work with the Center
> for the Theater of the Oppressed in Rio de Janeiro and is researching
> and formulating a theory of the aesthetics of the oppressed.
>
> The Theater of the Oppressed Laboratory (TOPLAB)
>
> The purpose of the Theater of the Oppressed Laboratory, founded in New
> York City in July 1990, is to provide a forum for the practice,
> performance and dissemination of the techniques of the Theater of the
> Oppressed. TOPLAB is a group of educators, cultural and political
> activists and artists whose work is based on extensive training and
> collaboration with Augusto Boal since its founding. TOPLAB conducts
> on-site training workshops on theater as an organizing tool for
> activists in neighborhood, labor, peace, human rights, youth and
> community-based organizations. We work with educators, human  
> service and
> mental health workers, union organizers, and political and community
> activists who are interested in using interactive theater as a tool  
> for
> analyzing and exploring solutions to problems of oppression and power
> that arise in the workplace, school, and community—problems  
> connected to
> AIDS, substance abuse, family violence, homelessness, unemployment,
> racism and sexism.
>
> Since 1990, through the auspices of the Brecht Forum, TOPLAB has
> initiated and organized intensive workshops led by Augusto Boal in New
> York City. It has also planned and led hundreds of training  
> workshops in
> the techniques of the Theater of the Oppressed at the Brecht Forum and
> elsewhere in New York City, as well as throughout North America and
> internationally. In this capacity, TOPLAB has brought together people
> from diverse backgrounds, occupations, and organizations, and  
> functioned
> as a resource, information, and networking center serving individuals
> and groups interested in theater for social change. Each year, TOPLAB
> offers a series of public workshops at the Brecht Forum in New York.
>
> In addition to facilitating training workshops, TOPLAB members have
> worked in various street theater projects around the themes of
> globalization, neoliberalism and international solidarity, and to
> protest United States aggression in Iraq, Afghanistan and  
> elsewhere, and
> its members and associates are involved in a wide range of progressive
> and radical political and cultural groups and movements.
>
> TOPLAB will neither facilitate workshops for, nor accept funding from
> for-profit corporations and similar enterprises.
>
> *****
>
> "The Marxist poetics of Bertolt Brecht does not stand opposed to  
> one or
> another formal aspect of the Hegelian idealist poetics but rather  
> denies
> its very essence, asserting that the character *is not absolute  
> subject*
> but the object of economic or social forces to which he responds  
> and in
> virtue of which he acts...
>
> "In Brecht's objection [to idealist poetics], as well as in any other
> Marxist objection, what is at stake is who, or which term, precedes  
> the
> other: the subjective or the objective. For idealist poetics, social
> thought conditions social being; for Marxist poetics, social being
> conditions social thought. In Hegel's view, the spirit creates the
> dramatic action; for Brecht, the character's social relations  
> create the
> dramatic action....
>
> "Brecht was a Marxist; therefore, for him, a theatrical work cannot  
> end
> in repose, in equilibrium. It must, on the contrary, show the ways in
> which society loses its equilibrium, which way society is moving, and
> how to hasten that transition.
>
> "Brecht contends that the popular artist must abandon the downtown
> stages and go to the neighborhoods, because only there will he find
> people who are truly interested in changing society: in the
> neighborhoods he should show his images of social life to the workers
> who are interested in changing that social life, since they are its
> victims. A theater that attempts to change the changers of society
> cannot lead to repose, cannot re-establish equilibrium. The bourgeois
> police tries to re-establish equilibrium, to enforce repose: a Marxist
> artist, on the other hand, must promote the movement toward national
> liberation and toward the liberation of classes oppressed by
> capital...[Hegel and Aristotle] desire a quiet somnolence at the  
> end of
> the spectacle; Brecht wants the theatrical spectacle to be the  
> beginning
> of action: the equilibrium should be sought by transforming  
> society, and
> not by purging the individual of his just demands and needs....
>
> "I believe that all the truly revolutionary theatrical groups should
> transfer to the people the means of production in the theater so that
> the people themselves may utilize them. The theater is a weapon,  
> and it
> is the people who should wield it."
>
> —Augusto Boal, The Theater of the Oppressed
>
> *****
>
> Other Upcoming Events:
>
> Thursday, April 5 from 6:00 pm to 10:00 pm
> Nazis Vs. Zapatistas--The Struggle Against Cooptation: An Anti-Power
> Workshop (includes a screening of the film Soma: An Anarchist Therapy)
> Facilitated by Nick Cooper
>
> Saturday, April 21 from from 10:00 am to 6:00 pm, and
> Sunday, April 22 from 9:00 am to 5:00 pm
> The Rainbow of Desire (an Image Theater technique)
> Facilitated by Victor Cole and Marie-Claire Picher
>
> Friday, May 18 at 7:30 pm
> An Evening of Performance with Robbie McCauley
>
> Friday, September 7 from 6:00 pm to 9:00 pm,
> Saturday, September 8 from 10:00 am to 6:00 pm, and
> Sunday, September 9 from 10:00 am to 6:00 pm
> Cop-in-the-Head
> Facilitated by Marie-Claire Picher and other TOPLAB facilitators TBA
>
> Friday, September 14 at 7:30 pm
> Talk/video showing: Theater of the Oppressed and Street Theater in  
> India
> (includes a screening of the film Shit, and a documentary on the  
> use of
> Theater of the Oppressed in Indian street theater)
> Presented by Sr. Clare-Marie Therese, ICM
>
> Saturday, September 15 from 10:00 am to 6:00 pm
> A Workshop in Theater of the Oppressed, Playback Theater and Street
> Theater as practiced in Tamilnadu, India by the Dalit community
> Facilitated by Sr. Clare-Marie Therese, ICM
>
> *****
>
> All workshop sessions take place at:
>
> The Brecht Forum
> 451 West Street
> New York City
>
> *****
>
> This is the TOPLAB Announcement list.
>
> To be removed from this list, send an email to majordomo at toplab.org
> Leave the subject line blank and on the first line of the message body
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>
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>
>
> -- 
> The Theater of the Oppressed Laboratory
> toplab at toplab.org
> http://www.toplab.org
>
> "My fellow Americans, major combat operations in Iraq have ended.  
> In the
> battle of Iraq, the United States and our allies have prevailed."
>                                        --George W. Bush, May 1, 2003
>
> "...I told the American people that the road ahead would be  
> difficult, and
> that we would prevail. Well, it has been difficult--and we are
> prevailing."
>                                        --George W. Bush, June 28, 2005
>
> "Our cause in Iraq is noble and necessary....America is engaged in  
> a new
> struggle that will set the course for a new century. We can and we  
> will
> prevail."
>                                        --George W. Bush, January  
> 10, 2007
>
> "Prevailing in Iraq is not going to be easy."
>                                        --George W. Bush, March 19,  
> 2007
>
> +U.S. military fatalities through May 1, 2003: 140
> +U.S. military fatalities through June 28, 2005: 1743
> +U.S. military fatalities through January 10, 2007: 3017
> +U.S. military fatalities through March 19, 2007: 3217
> +U.S. military fatalities as of March 27, 2007: 3242 (this figure  
> exceeds
> the number of people killed in all of the incidents that occurred
> on September 11, 2001)
>
> +Iraqi civilian fatalities through May 1, 2003: 1982
> +Iraqi civilian fatalities through June 28, 2005 (estimated by
> IraqBodyCount.net): 22,563 – 25,560*
> +Iraqi civilian fatalities through January 10, 2007 (estimated by
> IraqBodyCount.net): 53,101 – 58,704*
> +Iraqi civilian fatalities through March 19, 2007 (estimated by
> IraqBodyCount.net): 59,326 – 65,160*
> +Iraqi civilian fatalities as of March 27, 2007 (estimated by
> IraqBodyCount.net): 59,801 – 65,660*
> +Iraqi civilian fatalities as of July 2006 (estimated by The  
> Lancet): 654,965
>
> *These figures are based on the number of fatalities cited in  
> various news
> reports and have been criticized, with much justification, for not  
> giving
> an accurate assessment of the real civilian death count. A much more
> rigorous and statistically-reliable study, conducted by teams from  
> Johns
> Hopkins University, Columbia University and Al-Mustansiriya  
> University,
> and published in The Lancet (the British medical journal) in the  
> Fall of
> 2004, put the figure at around 100,000 civilians dead. However,  
> that data
> had been based on "conservative assumptions", according to research  
> team
> leader Les Roberts, and the actual count at that time was credibly  
> assumed
> to be significantly higher. For example, The Lancet study's data  
> greatly
> underestimated fatalities in Fallujah due to the surveying problems
> encountered there at that time. Most recently, a second Lancet study,
> released on October 10, 2006, now indicates that 654,965 "excess"  
> deaths
> of Iraqi civilians have occurred since the outbreak of the  
> aggression and
> genocide committed by the United States against the people of Iraq.
>
> Sources: http://www.iraqbodycount.net/
> http://icasualties.org/oif/
> http://www.zmag.org/lancet.pdf
> http://www.guardian.co.uk/Iraq/Story/0,2763,1338749,00.html
> http://www.agoracosmopolitan.com/Iraq_war.html
> http://www.socialistworker.co.uk/article.php4?article_id=6271
> http://olm.blythe-systems.com/pipermail/nytr/Week-of- 
> Mon-20041025/008279.html
> http://www.thelancet.com/webfiles/images/journals/lancet/ 
> s0140673606694919.pdf
>
>
>



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