Sunday, July 19, 2009

Purple And Red Wedding

TDO al PADOVA PRIDE VILLAGE


COMPANY
THE OTHER SIDE OF THE NUT
PRESENTS:

PUBLIC FORUM TO PRIDE VILLAGE PADOVA

The company LGBT Theatre of the Oppressed "THE OTHER SIDE OF THE NUT" of Verona, presents a public forum at gay village of Padua Monday August 3, 2009 at 21:00.
will be presented to the scenes of "oppression" that involve homosexuals and trans inspired by real cases.
The Theatre of the Oppressed (TDO), a theater is "interactive" in which the public has the opportunity to enter the scene and become an active part of history represented, and then has the opportunity to interact with other actors in the "here and now "stage space.
The TDO can address social issues of various kinds, with an audience that participates in the scene bringing their own contribution in terms of ideas, suggestions for changes and solution, in situations that would otherwise follow the "scripts decided by others" how often are the "scripts of social life." The TDO
confront stereotypes, social conflict, prejudice obvious, but even the most underground and above all, the figures of the "oppressor" and "oppressed" in the various dimensions of social life.

For further information call the group leader to Ermanno Marogna nr. 349 4641139 or send an email to: ermannovr@yahoo.it

Thursday, July 16, 2009

Appeal Letter Rejection

Cos'è il Teatro dell'Oppresso

Theatre of the Oppressed

The Theatre of the Oppressed is a method developed by Augusto Boal's Theatre from 60s, first in Brazil and then in Europe, which uses theater as a means of knowledge and as a language as a means of knowledge and transformation of reality 'inner, relational and social. It 's a scene that makes the audience active and serves groups of "spect-actors" to explore, enact, analyze and transform reality' that they themselves live. He has one of the aims to rediscover the people its theatricality, seen as a means of knowledge of reality, and make the audience protagonists of the stage, so that they are in life. It is based on the assumption that "all the body thinks", in other words on the concept "global" man seen as the interplay of body, mind and emotions. The method provides analytical tools, liberation and awareness through a non-directive approach and a dialogic relationship that would destroy the aspects of violence. You try to develop intuition and sensory as well as rational. The method is based on the assumption that "the whole body thinks," in other words on a conception of "global" man seen as interazione reciproca di corpo, mente, emozioni. Il metodo fornisce strumenti d'analisi, liberazione e coscientizzazione attraverso un approccio non direttivo e ad una relazione dialogica, che annulli gli aspetti di violenza. Si tenta di sviluppare le capacità intuitive e sensoriali, oltre che razionali.

Il Teatro dell'oppresso (TdO) nasce negli anni '60 in Brasile, ad opera di Augusto Boal, direttore del Teatro Arena di Saõ Paulo. Si basa su una precisa presa di posizione, a favore degli "oppressi" e, parallelamente a Paulo Freire, su un lavoro di coscientizzazione. Per conseguire questo scopo, Boal elaborò varie tecniche (teatro giornale, teatro forum, teatro immagine, teatro invisibile...) in grado di valorizzare the culture of the peasants. All, to varying degrees, seek to de-professionalize the theater, breaking the barrier actor-spectator. Socratic used as a tool, not as catharsis, this theater brings forth the great social problems and collective. A peculiar aspect of his work remains on the body to loosen the muscle forms (a general walks like a general ") and the activation of a thought" for images. " Theatre of the Oppressed is based sull'esplicitazione of interpersonal and social conflicts. Theatre of the Oppressed seeks solutions to the conflict, it is the same group that research and put them into practice, albeit in a theatrical setting, the hypothesis here is that the "states" of a solution can spur us to work even in everyday life. The conflict viene così valorizzato perché permette all'oppresso di liberarsi dall'oppressione.

Dall'influenza del pensiero di Freire il TdO prende l'atteggiamento non indottrinante ma maieutico: non da' risposte ma pone domande e crea contesti utili per la ricerca collettiva di soluzioni. Una delle sue principali ipotesi base e' che "il corpo pensa", ovvero una concezione dell'essere umano come globalita' di corpo, mente ed emozione dove l'apprendimento/cambiamento vede coinvolti tutti e tre gli aspetti, in stretta relazione. Il TdO si muove ai confini tra teatro, educazione, terapia, intervento sociale e politica. Fulcro del lavoro e' l'analisi + trasformazione delle situazioni oppressive, di disagio, conflittuali, della vita daily. Use tools such as a series of exercises and games that aim to dissolve the "mechanization" of our body / mind / emotion that are crystallized in the so-called "social mask". While touching personal and emotional aspects of the Oppressed does not arise as therapy but as an instrument of "liberation" that is based on collective self-awareness of people, on "multiple mirror the look of others." But the different critical situations can be addressed using appropriate techniques and methods: Games exercises. Forum Theatre, Image Theatre, Invisible Theatre, the Flic-dans-la-tete (Cop in the head), Theatre Journal and other financial details. The last stage of the Theatre of the Oppressed 'currently-Legislative Theatre, experience initially held in Rio de Janeiro from 1993 to 1996 where Boal, who was elected deputy of the House of Vereadores, coordinated a project through which organized social groups (women, landless, unemployed, etc.). could express their needs with the theater, translating then bills debated in the House and vice versa, also read already 'but not respect were strengthened through measures to Invisible Theatre, which will highlight the failures, and' an experience that Boal called for "democracy transitive, it 'live it' delegated legislation and the more that connects the key institutions of organized citizens 'needs; experience that is being proposed now in different cities' of Europe. Today Theatre of the Oppressed 'spread all over the world, with a center in Rio (Centro do Teatro do Oprimido) and Paris (Theatre du Centre de l'oppression'); more 'diverse groups and centers that have drawn particular visions of the method in different other countries.

Principles

* The basic aim of TO and 'humanize humanity'. * Theatre of the Oppressed 'a system of exercises, games and techniques based on the Essential Theatre, to help men and women develop what' they already 'have within themselves: the theater. * Every human being 'theater! * Theatre and 'defined as the simultaneous existence - in the same space and context - of actors and spectators. Every human being 'able to see the situation and see themselves in the situation. * Il Teatro Essenziale consiste in tre elementi: il Teatro Soggettivo, il Teatro Oggettivo e il Linguaggio Teatrale. * Ogni essere umano e' capace di recitare-agire (acting): noi dobbiamo necessariamente produrre azioni e osservare queste azioni e i loro effetti sull'ambiente. Essere Umano vuol dire essere Teatro: la coesistenza dell'attore e dello spettatore nello stesso individuo. Questo e' il Teatro Soggettivo. * Quando gli essere umani limitano se stessi nell'osservare un oggetto, uno persona o uno spazio, rinunciando momentaneamente alla loro capacita' e necessita' di agire, l'energia del loro desiderio di agire e' trasferita a quello spazio, persona od oggetto, creando uno spazio nello spazio: uno Spazio Estetico. Questo e' il Teatro Oggettivo. * All human beings use in their daily lives, the same language that actors use on stage: their voices, their bodies, their movements and their expressions, they translate their emotions and desires into the Theatrical Language. * The Oppressed offers all the aesthetic means to analyze their past in the context of their present and subsequently to invent their future, without waiting. Theatre of the Oppressed helps human beings to recover a language they already 'have - we learn how to live in society' by teatro.Noi learn how to feel by feeling, thinking about how to think, how to act by acting. Theatre of the Oppressed 'a rehearsal for reality'. * The oppressed are those individuals or groups who are socially, culturally, politically, economically, racially, sexually or in any other way deprived of their right to Dialogue or in any way impaired in the exercise of this right. * Dialogue and 'defined as a free exchange with others, as a person and as a group, participating in society' as a human equal, to respect differences and to be respected. Theatre of the Oppressed 'based on the principle that all human relationships should be of a dialogue: between men and women, races, families, groups and nations, dialogue should prevail. In reality 'all dialogues have a tendency to become monologues, which creates the relationship oppressed-oppressors. Acknowledging this reality, 'the most' important principle Theatre of the Oppressed ' to help restore (to restore) the dialogue between human beings. * Theatre of the Oppressed 'a worldwide movement non-violent aesthetic that seeks peace, not passivity'. * Theatre of the Oppressed try to activate people in an attempt (Endeavor) humanistic expressed by its real name: theater of, by, and for the oppressed. A system that enables people to act in the fiction of the theater to become protagonists, ie 'subjects, of their lives. * Theatre of the Oppressed, and not 'them' ideology nor 'a political party, not' dogmatic it 'coercive and' respect for all cultures. It 's a method of analysis and a means to develop companies' more' happy. Because of its humanistic and democratic nature, and it 'is widely used around the world, in tutti i campi di attivita' sociale come: educazione, cultura, arte, politica, lavoro sociale, psicoterapia, programmi di alfabetizzazione e salute. * Il TdO e' ora usato in circa meta' delle nazioni del mondo, elencate nell'allegato, come uno strumento per forgiare scoperte circa se stessi e circa l'Altro, per chiarificare ed esprimere i nostri desideri; uno strumento per il cambiamento delle circostanze che producono infelicita' e pena, e per l'intensificazione di cio' che porta pace; per rispettare le differenze tra gli individui e gruppi e per includere tutti gli esseri umani nel Dialogo; e infine uno strumento per ottenere giustizia economica e sociale, che e' il fondamento della vera democrazia. In sintesi, l'obiettivo generale Theatre of the Oppressed 'the development of fundamental human rights.

The international organization of TO (ITO) is an organization that coordinates and enhances the development of the Oppressed in the world, according to the principles and objectives of this Declaration. The ITO does' Theatre of the Oppressed by connecting those who practice in a global network, fostering the exchange and methodological development, training and facilitating the dissemination of existing techniques, by conceiving projects on a global scale, stimulating the creation of Centers of premises Oppressed (CTO ) promoting and creating conditions for the work of the CTO and the Theatre of the Oppressed practitioner and creating an international meeting place on the Internet. The ITO 'of the same nature as the humanistic and democratic principles and objectives, it will incorporate 'any contributions from those who are working under this Declaration of Principles. The ITO will '(to accept) that' anyone who uses the techniques of TO subscribes to this Declaration of Principles.

techniques of the method

Games-Exercises: techniques of integration, confidence, awareness (from touching to hear from looking to see, from hearing to listening) and de-mechanization . The game is a recreational exercise individual or collective that engages the mind and physical ability. The game in its metaphorical and analog functions, creates the conditions for an immersion in emotion, ruoli e dinamiche che, prescindendo dal contenuto, possono essere analizzate "come se" fossero generate da situazioni reali. Nel Teatro dell'oppresso i giochi-esercizi sono strumenti di preparazione teatrale per sciogliere le nostre rigidita' corporee e percettive. L'esercizio e' una riflessione fisica su se stessi. Un monologo. Una introversione. I giochi, in compenso, sono legati all'espressivita' del corpo che emette e riceve messaggi. I giochi sono un dialogo, esigono un interlocutore. Sono estroversione.

Teatro immagine : attraverso le sculture corporree e successive dinamizzazioni l'allenamento su osservazioni/interpretazione e l'esplorazione dei linguaggi analogici. Codici, rituali e maschera sociale: la realtà as simplification and codification, the triptych person, personality and character. Exercises for the creation of the characters: the evocation of characters through interpretative methods, notably Stanislavski.

Theater Forum : the representation of oppressive situations recognizable to the public by converting it into a character actor, from idea to fight on stage with the actors antagonists, from the individual to the debate.

Invisible Theatre: The awareness about certain issues through theatrical events in which people are involved inconsapevolemnte.

Theatre newspaper: news reading publicly raise awareness for the listeners. Flic dans la tete: techniques used to work on the psychological oppression.

Legislative Theatre: a structure that puts the Boal method of theater within a path of research and collective growth of the relationship between population and institutions.

Augusto Boal

Born in Rio de Janeiro in 1931, and 'state director of the Teatro de Arena (São Paulo) from 1956 to 1971, when exile before he is expelled from Brazil to Argentina, then in Peru' (where he began to formulate political games of the arsenal of the Theatre of the Oppressed), then in France where he settled until 1991, creating the techniques of Flic-dans-la-tete. Back in Rio de Janeiro, and 'elected Vereador (a sort of municipal council) for the Party dos Trabalhadores and performs its political mandate-theatrical applying the Legislative Theatre in Rio and in other cities' Brazilian and European (London). It 'the author of texts and books dramaturgical theorists, some of them translated in thirty-five languages. E 'is currently still active in educational initiatives around the world.