Augusto Boal, Poetics Of The Oppressed (Continued).
Third stage, Theatre as language: The third stage is divided into three degrees, each of these sections being representative of different degrees of audience participation, the first two of which are focused upon the work of the participants and the physical use of their own body. In these three stages, the spectator is encouraged to abandon their typical role of ‘object’ and instead steps up to take on the role of ‘subject’ by playing a part in the on stage action.
The first degree, simultaneous dramaturgy, is the first stage of dramatic intervention performed by the spectator in which it is not required that they extend their physical presence onto the stage itself. This can be done through a more quiet and less obvious form of audience contribution, in which an audience member proposes an idea and the actors can then perform short improvised scene using the audience member’s point of idea as their stimulus. Furthermore, a local resident may prepare a script for the actors to perform- this will still fall into the criteria of the first degree, provided they are present in the audience. The actors can also further the level of audience participation by stopping the performance and asking them for possible solutions to help them out of a crisis they may have met during the progression of the performance, or any ideas the audience may have to further the plot. The actors will act out these ideas and solutions and must comply strictly with the instructions provided by the audience, while ensuring that each individual idea provided is carried out. By ensuring that every last contribution be acted out before trying the same base scenario again only using a different course of actions provided by another audience member, the actor is then forced to not only consider the individual, but must also interpret the audience as an entirety. They are now interpreting the mass audience in their schools, clubs, communities, classes, etc. And although Boal considers the interpretation of a mass audience to be far more difficult than that of an individual, who also states that it causes an actor to produce a far greater creative output. This degree is also extremely beneficial to audience members as it creates great excitement within audiences when they realise the level of creative freedom they have been given and breaks the wall between spectator and performer, allowing them to feel at one with the performers themselves.
The second degree, Image Theatre, is a far more direct form of audience participation in which the participants explore their own thoughts and feelings on certain matters through the use of physicality. The participants are first asked to discuss each other’s views on a common issue, whether it be worldwide or an issue relating to their community, though from there on out, all verbal idioms are banned thus forcing open the door of physical representation with which to convey their thoughts and feelings to one another. The participants can do this making ‘human statues’ out of the actors. One participant will act as ‘the sculptor’ while the actors will take on the role of being their ‘clay’. The designated sculptor will then shape the bodies of the actors in order to create a tableaux that they feel best conveys their feelings towards the issue in question, shaping the actors right down the last minute details, even the most subtle of facial expressions. During the exercise, no one is allowed to speak. However, when the participant is satisfied with the picture they have created, they can then enter into discussion with the spectators, who will provide the participants with feedback. Modifications can also be used to further this exercise, in which other spectators can alter the statues created by the sculptor. These alterations can from the most subtle detail to the entirety of the statue and participants can play around with the statues until they reach a picture that is most agreeable to the majority of the audience. This degree can be among the most stimulating forms of expression for an audience as it allows them to explore other ways of making thoughts visual by muting verbal language, forcing them to take into consideration other forms of language (such as body language) that is not always entirely noticeable when placed next to verbal forms of expression. It also makes the thoughts of the individual far more apparent as every verbal word has a similar meaning, yet holds a different connotation for each individual, thus through this exercise the individual is able to freely demonstrate their interoperation of a particular word or issue. This exercise is helpful to the success of an Applied Theatre workshop or performance as it is vital that every participant feels heard and listen to and this exercise had the capacity to make visible the views, thoughts and feelings that are personal to them.
In the third and final degree, known as Forum Theatre, the participant must intervene with the action far more decisively in oder to influence it. In this degree, participants are asked to decide upon a social or political issue that has a difficult and then to deliver this issue in narrative form. The story giving by the participants is then transferred onto the stage in a 10-15 skit, however, the actors must now improvise or run through a possible solution for the issue and when the skit comes to an end, the actors address the audience and ask for feedback as to whether or not they agree with the solution presented. After the feedback is given, the skit is then performed again, the actors performing it exactly as they did the first, however, this is when a more direct form of audience participation is introduced. This time, the audience may influence the scene by pausing it at any moment and stepping in the replace which ever actor they see fit in order to best influence the scene to their will. The displaced actor must stand aside, ready to resume their place whenever the participants feel it is appropriate to do so. This brings improvisation to new levels and builds a further connection between audience and actors as they must all work together as a team and as each other’s equals, each coming up with creative responses to whatever idea or situation the other may present and exploring all possibilities presented by each individual. This practice is key in empowering the participants and providing them with the will to make a positive change, as practicing such changes in the form of theatre enforces a belief in themselves that they can make these changes in reality and often leaves them with a nagging desire to do so.
Fourth stage: Theatre as discourse: In this the fourth stage, Theatre as discourse, Boal states that the bourgeoisie have created the ‘finished theatre’ as is a reflection of their world, as the bourgeoisie tend to live their life in greater certainty than that of the lower classes and reflect an image of the world they already knew. The lower classes, however, lead a much rockier path and do not necessarily know what their content of their world will entail. Therefore, Boal compares the world of the working class to a piece of theatre still undergoing the rehearsal process, stating that it represents the image of the uncertain world and this form of ‘unfinished theatre’, contrary to the ‘finished theatre’ of the bourgeoisie, is a better representative for the lesser fortunate and the uncertainty they frequently face. Boal implies that theatre can present images of transition, and the idea of ‘rehearsal theatre’ responds to the real needs of an audience, as they are abel to step in and manipulate the events and explore the possible changes that would like to see in their own lives first hand, rather than watching the events played out before them.
When conducting a workshop, I think that many of these stages will be very important to consider, particularly the third stage in which Boal talks about the varying degrees of audience participation. Each degree, used one of the other, can work as an effective method in slowly breaking participants out of their shell and encouraging them to get involved with the action. I will use the first degree in Theatre as language to encourage participants to begin speaking their own views and feedback on particular issues and situations as I feel it is important not to throw them straight into active intervention as it is very important for the wellbeing of the participants that the facilitator takes into consideration that some participants may come to a workshop nervous or uncomfortable. Therefore it is important that more direct forms of participation be eased into slowly and the the third stage allows this by having the participants act as spectators but are still able present their ideas verbally and subsequently see them played out for them by the actors. This is crucial in laying the foundations for a safe place in which the participants can explore, showing them that no matter what their idea may be, it is perfectly valid and will be carried out in a safe and judgmental atmosphere.
I will then use the second degree, Image Theatre, to build on this as will allow participants to express their views in a way that is personal to them and is done so in a form that directly interactive, however, they need not fear being judged or heckled when constructed their ideas due to the ban on verbal idioms. This will also ease the participants into exploring their own physical capabilities and finding news of expressing their thoughts as the ban on verbal language forces open the door of physical exploration. By the time we reach the fourth stage, Forum Theatre, the participants will have been able to explore expressing verbally through the first stage in their contributions as a spectator and through feedback on their ideas during the second, as well as physically by practicing the embodiment of their ideas through physicality during the process of the second stage. I will work through each of these stages carrying out regular check-ins with the participants to ensure that they are feeling comfortable and that we move on to the next stages only when each and every participant feels ready to do so, ensuring that they have built the necerssary confidence to feel empowered and to contribute to the following stage creatively and effectively. Audience participation is key in order to establish common ground and make the participants feel as if they are on an equal level with their facilitator. It will also allow me as a facilitator to tailor the workshop according the needs and requirements of the participants, helping to make it a successful workshop that is effective in providing the participants with a supportive experience and empowering them to make positive changes in their lives.
