This class will explore a group of performance artists and pedagogies from Latin America that use the medium of theater and live performance to react to social and political injustices and to prompt audiences to respond. These works challenge structures, cast light on societal inequities, empower the voiceless, and more. Through a mix of readings, practice (play), viewing, and discussions, we will gain a deep, embodied understanding of these approaches, understanding the traditional view of a “good play” stemming from Aristotle’s Poetics, to precisely how each of these artists’ works provoke action and awareness to their audiences. In our own practice, we will explore the material while applying techniques to our own relevant issues.
This class will include a trip to NYC to take a workshop and see relevant work (a performance).
We will begin with Augusto Boal’s “Theater of the Oppressed,” which originated in Brazil, through which we will learn first of his perspective on Greek and European approaches to theater. In the spirit of his vision, we will next explore the idea of the spect”actor” at the forefront—using our own selves; bodies, voices and imagination in guided games and exercises in order to explore the interactive relationship between the audience and performer. (Image Theater, Forum Theater, Invisible Theater, and more)
We will then delve into ritual and exploration of embodied memory through Teatro Yuyachkani, the satirical and feminist cabaret styles of Jesusa Rodriguez, and the tightly wound exploration of theater criticizing itself and questioning trauma healing in Guillermo Calderón’s work. We will also learn what we can of TiT political happenings (5 minute provocations under an oppressive government we can only read few accounts of) in Argentina, explore the joyful exuberance of youth-led troupe Teatro Trono who use clowning and mask work to address social/political issues, and more.
As we explore these theatrical contexts, we will embody their methods to share and learn of the historical, social and political contexts of the surrounding culture of these artists in their countries and gain a broad overview of Latin American theater history and its constant grappling with colonialist and imperialist perspectives. (This will include study of excerpts from Theatre of Crisis, by Diana Taylor.)
The class will culminate in a final set of group showings of pieces that students will create based on your own social/political interests, using inspiration from all we have studied in class.
Spanish not required. Acting experience not required. Willingness to play and take risks is integral to class.
