9780415267083

Games for Actors and Non-Actors

by ;
  • ISBN13:

    9780415267083

  • ISBN10:

    0415267080

  • Edition: 2nd
  • Format: Nonspecific Binding
  • Copyright: 10/25/2002
  • Publisher: Routledge

Note: Supplemental materials are not guaranteed with Rental or Used book purchases.

Purchase Benefits

  • Free Shipping On Orders Over $59!
    Your order must be $59 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • Get Rewarded for Ordering Your Textbooks! Enroll Now
  • We Buy This Book Back!
    In-Store Credit: $10.50
    Check/Direct Deposit: $10.00
List Price: $55.95 Save up to $29.09
  • Rent Book $33.57
    Add to Cart Free Shipping

    TERM
    PRICE
    DUE

Supplemental Materials

What is included with this book?

  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
  • The Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Summary

Games for Actors and Non-Actorsis a unique piece of writing. Boal's Methods transform theatre into a democratic arena where the spectator becomes the 'spectactor', contributing ideas, taking over roles, and using theatre to confront problems such as sexual harrassment, poor pay, homophobia, and racism. For this first translation into English, Boal has included fresh material to make it the most up-to-date introduction to the techniques of Image Theatre and Forum Theatre available.Games for Actors and Non-Actorsis a valuable handbook of methods, techniques, games, and exercises, and is a genuinely inspiring work by the world-famous author ofTheatre of the Oppressed. It is designed to help anyone - whether actor on non-actor - rehearse for real life: make the fictional real.

Author Biography

Augusto Boal is a theatre director, dramatist, theorist, writer and teacher. He was a Member of Parliament for Rio de Janeiro from 1993 to 1996 Adrian Jackson is Artistic Director of Cardboard Citizens. He has translated four books by Augusto Boal, collaborated with him on a number of occasions and taught Theatre of the Oppressed widely in countries including Namibia, South Africa, Hong Kong, Mauritius and Finland

Table of Contents

List of figures
xxi
Translator's introduction to the first edition xxii
Translator's postscript to the second edition xxvii
Preface to the second edition: The Royal Shakespeare Company, theatre in prisons and landless peasants 1(5)
Postscript -- with pride in our hearts 6(5)
Preface to the first edition: the fable of Xua-Xua, the prehuman woman who discovered theatre 11(6)
Postscript: actors and non-actors 17(1)
Theatre of the Oppressed in Europe
18(11)
Introduction
18(1)
The Godrano experience: my first Forum Theatre in Europe or the ultimate spect-actor/protagonist!
19(10)
Feminism in Godrano
20(1)
The police again
21(2)
The oppressed and the oppressors
23(6)
The Structure of the Actor's Work
29(19)
The primacy of emotion
29(6)
Muscular exercises
31(1)
Sensory exercises
31(1)
Memory exercises
32(1)
Imagination exercises
32(1)
Emotion exercises
32(3)
Rationalising emotion
35(2)
A la recherche du temps perdu
37(3)
The dialectical structure of the actor's interpretation of a role
40(8)
The will
40(3)
The counter-will
43(2)
The dominant will
45(1)
Quantitative variation and qualitative variation
46(2)
The Arsenal of Theatre of the Oppressed
48(2)
Introduction: a new system of exercises and games from Theatre of the Oppressed
48(2)
Two unities
49(1)
Five categories of game and exercise
49(1)
I FEELING WHAT WE TOUCH (RESTRUCTURING MUSCULAR RELATIONS)
50(42)
First series: general exercises
50(20)
The cross and the circle
50(1)
Colombian hypnosis
51(5)
Minimum surface contact
56(2)
Pushing against each other
58(4)
Joe Egg (aka trust circle)
62(1)
The circle of knots
62(2)
The actor as subject': the Greek exercise
64(2)
The actor as `object'
66(1)
Lifting someone out of a chair
67(1)
Equilibrium of the body with an object
67(1)
A balloon as an extension of the body
68(1)
Racing on chairs
68(1)
Rhythm with chairs
68(1)
Musical chairs
69(1)
Movement with over-premeditation
69(1)
Difficulties
69(1)
Divide up the movement
70(1)
Dissociate coordinated movements
70(1)
Second series: walks
70(4)
Slow motion
71(1)
At a right angle
72(1)
Crab
72(1)
Crossed legs (aka three-legged race)
72(1)
Monkey
73(1)
All fours
73(1)
Camel walk
73(1)
Elephant walk
73(1)
Kangaroo walk
73(1)
Leaning-against-each-other walk
73(1)
Strapped-feet walk
74(1)
Wheelbarrow
74(1)
As you like it
74(1)
Imitating others
74(1)
Third series: massages
74(3)
In a circle
75(1)
The movement comes back
75(1)
Sea waves
75(1)
The rolling carpet
76(1)
Back massage
77(1)
The demon
77(1)
Fourth series: integration games
77(9)
Person to person, Quebec-style
77(1)
The bear of Poitiers
78(1)
The chair
78(1)
Leapfrog
79(1)
The Brueghel game
79(1)
Stick in the mud
80(1)
Grandmother's footsteps
80(1)
Millipede
80(1)
Apple dance
81(1)
Sticky paper
81(1)
The wooden sword of Paris
81(1)
American football (aka British bulldog)
82(1)
Three Irish duels
82(1)
Little packets
83(1)
Cat and mouse
83(1)
Homage to Tex Avery -- cat and dog(s)
84(1)
The handkerchief game (aka the hat game, aka dog and bone)
84(1)
Good day
85(1)
Cadavre exquis (aka consequences)
85(1)
The parachute
86(1)
Balance with an object
86(1)
Fifth series: gravity
86(6)
Horizontality sequence
87(1)
Verticality sequence
88(1)
Sequence of rectilinear and circular movements
89(3)
II LISTENING TO WHAT WE HEAR
92(22)
First series: rhythm
92(16)
A round of rhythm and movement
92(1)
Game of rhythm and movement
93(1)
Changing rhythms
93(1)
The machine of rhythms
94(2)
The Peruvian ball game
96(1)
The clapping series
97(1)
West Side Story
98(1)
The Portuguese rhythmic shoes
99(1)
The two brooms
100(1)
The four brooms
101(1)
Horseshoe rhythms
101(1)
Circular rhythms
101(1)
The big chief
101(1)
The orchestra and the conductor
101(1)
Rhythm dialogue in teams
102(1)
Chain rhythm dialogue
102(1)
Pretend Brazilian `Indians'
102(2)
Lines of five
104(1)
The president's bodyguards
104(1)
Walk, stop, justify
104(1)
Carnival in Rio
104(1)
Bolivian mimosas
105(1)
How many `A's in a single `A'?
106(1)
Two by three by Bradford
106(1)
Crossing the room
107(1)
Circle of names of Belo Horizonte
107(1)
Circle of rhythms of Toronto
107(1)
Second series: melody
108(1)
Orchestra
108(1)
Music and dance
108(1)
Third series: sounds and noises
108(1)
Sound and movement
108(1)
Ritual sound
109(1)
Fourth series: the rhythm of respiration
109(5)
Lying on your back completely relaxed
110(1)
Leaning against a wall
110(1)
Standing up straight
110(1)
Breathe in slowly
110(1)
Explosion
110(1)
Breathe in slowly while lifting the arms
111(1)
The pressure cooker
111(1)
Breathe in as quickly as possible
111(1)
Breathe in as slowly as possible
111(1)
Breathe in deeply through the mouth
111(1)
Breathe in with clear definition and lots of energy
111(1)
Two groups
112(1)
Breathe out, standing in a circle
112(1)
One actor pretends to pull the stopper out of another's body
112(1)
A, E, I, O, U
113(1)
All the actors, standing facing the wall
113(1)
Two groups of actors, facing each other
113(1)
With their bodies in maximum possible contact with the floor
113(1)
Lying on their backs on tables
114(1)
Fifth series: internal rhythms
114(1)
Rhythmic images
114(1)
III DYNAMISING SEVERAL SENSES
114(15)
The blind series
115(12)
The point of focus, the embrace and the handshake
115(1)
Noises
116(1)
The imaginary journey
117(1)
The glass cobra
118(1)
One blind line, one sighted line
118(1)
The magnet -- positive and negative
119(1)
Swedish multiple sculpture
120(1)
The vampire of Strasbourg
120(1)
The blind car
121(1)
What is the object?
121(1)
The smell of hands
122(1)
The figure-of-eight chicane
122(1)
Goalkeeper
122(1)
Friend and enemy
122(1)
Draw your own body
123(1)
Modelling clay
124(1)
Touch the colour
124(1)
The blind person and the bomb
125(1)
Find the hand
125(1)
The siren's song
125(1)
Find a convenient back
126(1)
The melodic hand
126(1)
The sound of the seven doorways
127(1)
Recognising the `Aaah!'
127(1)
The space series
127(2)
Without leaving a single space in the room empty
127(1)
Instead of simply saying `Stop', the Joker says a number
128(1)
The Joker says a number and a geometric figure
128(1)
The Joker says a number and a part of the body
128(1)
The Joker calls out a colour and an item of clothing
128(1)
The participants run slowly
128(1)
The participants touch each other
129(1)
IV SEEING WHAT WE LOOK AT
129(42)
The mirrors sequence
129(7)
The plain mirror
130(1)
Subject and image swap roles
130(1)
Subject--image, image--subject
130(1)
Everyone joins hands
131(1)
The two lines form a curve
132(1)
Symmetrical groups
132(1)
The mirror breaks
133(1)
Changing partners
133(1)
The distorting mirror
134(1)
The narcissistic mirror
134(1)
The rhythmic mirror
135(1)
Unification
135(1)
The modelling sequence
136(2)
The sculptor touches the model
136(1)
The sculptor doesn't touch the model
137(1)
The sculptors spread out around the room
138(1)
The sculptors fashion a single sculpture together
138(1)
Sculpture with four or five people
138(1)
The puppet sequence
138(1)
String puppet
139(1)
String puppet with rod
139(1)
Image games
139(9)
Complete the image
139(1)
Ball games
140(1)
Boxing match
141(1)
One person we fear, one person is our protector
141(1)
Furnish the empty space
142(1)
Atmosphere of snow
142(1)
Building character relations
143(1)
Characters in movement
143(1)
Observation
143(1)
Complementary activities
143(1)
What has changed?
144(1)
Tell your own story
144(1)
The antiquated telephone exchange
144(1)
Concentration
144(1)
Animals
145(1)
Professions
146(1)
The balancing circle
147(1)
The `Indian' in the city, the city dweller in the forest
148(1)
Games of mask and ritual
148(12)
Follow the master
148(1)
Follow two masters -- who metamorphose into each other
149(1)
Rotation of masks
149(1)
Unification of masks
149(1)
Collective creation of a mask
150(1)
Addition of masks
150(1)
Pushing the mask to its extremity and nullifying it
150(1)
Following the master in his own mask
150(1)
Changing masks
151(1)
Mask exchange
151(1)
The masks of the actors themselves
152(1)
Substitution of mask
153(1)
Separation of mask, ritual and motivation
153(1)
Changing a whole set of masks into a different social class
154(1)
Making the mask all-encompassing
155(1)
Changing actors mid-ritual
156(1)
A round of masks in different circumstances
156(1)
Natural and ridiculous
156(1)
Several actors on stage
156(1)
The game of complementary roles
157(1)
The politicians game
157(1)
Exchange of masks
157(1)
Exchange of roles
158(1)
Fainting at Frejus
158(1)
The designated leader
158(1)
The clown of Amsterdam
159(1)
The animals of Vienna
159(1)
Looking first at one another and then at the same spot
159(1)
Cookies
159(1)
The image of the object
160(2)
The found object
160(1)
The object transformed
161(1)
The object created out of simple things
161(1)
Homage to Magritte -- `This bottle is not a bottle'
161(1)
The invention of space and the spatial structures of power
162(3)
Space and territory
162(1)
Inventing the space in a room
162(1)
The great game of power
163(1)
Chairs in the empty space
163(1)
Where is my place?
163(1)
Six chairs
164(1)
Photographing the image
164(1)
Games involving the creation of characters
165(6)
Murder at the Hotel Agato
165(1)
Cops and robbers
165(1)
The embassy ball
166(1)
The child's dream -- what I wanted to be when I grew up
166(1)
The child's fear
167(1)
What grown-ups wanted me to be
168(1)
The opposite of myself
168(1)
The two revelations of Saint Teresa
169(1)
The fighting cocks
170(1)
Catchphrases
170(1)
What am I? What do I want?
170(1)
The blank character
170(1)
V THE MEMORY OF THE SENSES
171(3)
Reconnecting memory, emotion and imagination
171(3)
Memory: remembering yesterday
171(1)
Memory and emotion: remembering a day in the past
172(1)
Memory and emotion and imagination
172(1)
Remembering an actual oppression
173(1)
Rehearsal on the stage of the imagination
173(1)
Extrapolation
174(1)
IMAGE THEATRE
174(43)
Image techniques: models and dynamisations
176(27)
Image of the word: illustrating a subject with your body
176(5)
Image of the word: illustrating a subject using other people's bodies
181(4)
Image of transition
185(1)
Multiple image of oppression
186(3)
Multiple image of happiness
189(2)
Image of the group
191(2)
Ritual gesture
193(5)
Ritual
198(3)
Rituals and masks
201(1)
The image of the hour
201(1)
The kinetic image
202(1)
The merry-go-round of images
202(1)
Images of transition -- the technique in action
203(3)
Examples from Europe
203(3)
New Image Theatre techniques: the cop in the head
206(11)
Dissociation -- thought, speech, action
207(1)
The analytical image: the multiple mirror of how others see us
208(3)
Somatisation
211(1)
The circuit of rituals
211(1)
The three wishes
212(1)
The polyvalent image
213(1)
The screen image
213(1)
The image of the image
214(1)
Four very simple demonstrations of embryos of Forum Theatre pieces, based on projected images
215(2)
REHEARSAL EXERCISES FOR ANY KIND OF PLAY
217(81)
Exercises with or without script
217(3)
Improvisation
217(2)
The dark room
219(1)
One story told by several people
219(1)
Change the story
219(1)
One line spoken by several actors
220(1)
Games of emotional dynamisation
220(2)
Breaking the oppression
220(2)
The oppressor's confession
222(1)
Emotional warm-up exercises
222(3)
Abstract emotion
222(1)
Abstract emotion with animals
223(1)
Abstract emotion, following the master
223(1)
Animals or vegetables in emotional situations!
223(1)
Ritual in which everyone becomes an animal
224(1)
Stimulation of the dormant parts of ourselves
224(1)
Ideological warm-up
225(1)
Dedication
225(1)
Reading newspapers
225(1)
The evocation of historic events
226(1)
Lessons
226(1)
Exercises for the preparation of a Forum Theatre model or for the rehearsal of other kinds of theatre
226(15)
Play to the deaf
226(1)
Stop! Think!
227(1)
Interrogation
227(1)
The reconstruction of the crime
228(1)
Analytical rehearsal of motivation
228(1)
Analytical rehearsal of emotion
229(1)
Analytical rehearsal of style
229(1)
Opposite circumstances
229(1)
Artificial pause
230(1)
Self-interrogation
230(1)
Opposite thought
230(1)
Rehearsal of the cue
231(1)
Two touches
231(1)
Silence on set -- Action!
232(1)
Invisible characters
232(1)
Before and after
232(1)
Transference of emotion
232(1)
Slow motion
233(1)
Sensory focus
233(1)
Low volume
233(1)
Exaggeration
234(1)
Free-style rehearsal
234(1)
Reconnaissance
234(1)
Caricature
235(1)
Swapping characters
235(1)
Need versus will
235(1)
The rhythm of scenes
236(1)
Rashomon
236(1)
Keep talking
237(1)
The ceremony
237(1)
Secret whispers
237(1)
I don't believe you
238(1)
Long Beach telegram
238(1)
Holy theatre
238(1)
Analogy
238(1)
The tick-tock sequence
238(3)
The Early Forms of Forum Theatre
241(12)
Introduction
241(1)
The rules of the game
242(1)
Dramaturgy
242(1)
Staging
243(1)
The performance game
243(2)
Examples of Forum Theatre
245(8)
Agrarian reform seen from a public bench
245(2)
The people judge a secret policeman
247(1)
Leader at work, slave in the home
248(1)
The return to work at the Credit Lyonnais
249(1)
The nuclear power station
249(4)
Forum Theatre: Doubts and Certainties: Incorporating a New Method of Rehearsing and Devising a Forum Theatre Model
253(24)
Twenty fundamental topics
254(23)
Oppression or aggression?
254(2)
The style of the model
256(2)
Do the problems have to be urgent or not? Should they be simple or complex?
258(1)
Do we have to arrive at a solution or not?
259(1)
Does the model of the future action need to be depicted or not?
260(1)
Model or anti-model? Error or doubt?
260(1)
The conduct of the Joker
260(2)
Theatricality or reflection?
262(1)
The staging
263(1)
The function of the warm-up
264(1)
The function of the actor
265(1)
The repeated scene
266(1)
Macrocosm and microcosm
266(1)
How to replace a character without transforming it into another
267(1)
What is a `good' oppression?
268(1)
Who can replace whom?
269(2)
How should a `model' be rehearsed?
271(2)
Can a forum change themes?
273(1)
Can people remain `spectators' in a Forum Theatre session?
274(1)
When does a session of Theatre of the Oppressed end?
275(2)
First Experiences with Invisible Theatre
277(12)
Examples of Invisible Theatre
277(12)
Sexual harassment
277(3)
Queen Silvia's baby
280(2)
Racism I: the Greek
282(1)
Racism II: the black woman
283(2)
Picnic in the streets of Stockholm
285(2)
The audience's children
287(2)
Artistic Creation and Divine Madness: A Meditation on Art and the Miraculous
289(9)
Passion and art
293(3)
The mad artist and the artist madman
296(2)
Postscript: The Pedagogy of Fear -- Theatre and the Twin Towers: An Essay After 11 September, 2001 298

Rewards Program

Write a Review