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Games for Actors and Non-Actors

by: Boal, Augusto

Games for Actors and Non-Actors

by: Boal, Augusto

ISBN 13:
9780415061551
ISBN 10:
0415061555
Format: Paperback
Copyright: 05/01/1992
Publisher: Taylor & Francis
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Summary

"Games for Actors and Non-Actors" is a unique piece of writing. Boal's Methods transform theatre into a democratic arena where the spectator becomes the spect"actor"', 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-Actors" is a valuable handbook of methods, techniques, games, and exercises, and is a genuinely inspiring work by the world-famous author of "Theatre of the Oppressed". It is designed to help anyone - whether actor on non-actor - rehearse for real life: make the fictional real.

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

Amazon no longer offers textbook rentals. We do!

Games for Actors and Non-Actors

Games for Actors and Non-Actors

9780415061551

0415061555

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Table of Contents

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