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When theatre of the oppressed becomes theatre of the oppressor
6 references·3 citing·31 second hop
When theatre of the oppressed becomes theatre of the oppressor (2013)When theatre of the oppressed becomes the…Taming the political: the struggle over recognition in the politics of applied theatre (2007)Taming the political: the str…The Right to the City: Social Justice and the Fight for Public Space (2004)The Right to the City: Social…BRECHTIAN SHAMANISM : The political therapy of Augusto Boal (2002)BRECHTIAN SHAMANISM : The pol…Searching for the Marxist in Boal (2001)Searching for the Marxist in …Some Thoughts on Connections between the Political and the Therapeutic in the Work of Fox and Boal (2000)Some Thoughts on Connections …Playing Boal : theatre, therapy, activism (1993)Playing Boal : theatre, thera…‘To be creative is to exist’: rejecting resilience, enacting Sumud in the cultural resistance of ASHTAR theatre (2021)‘To be creative is to exist’:…‘Behind every stone awaits an Alexander’: unravelling the limits of participation within micro and macro dramaturgy of participatory refugee theatre (2018)‘Behind every stone awaits an…The micro-political and the socio-structural in applied theatre with homeless youth (2016)The micro-political and the s…Sources of the self: the making of the modern identity (1990)The Human Condition (1998)‘I made myself’: playmaking as a pedagogy of change with urban youth (2011)The Location of Culture (2012)Putting participation on stage: examining participatory theatre as an alternative site for political participation (2015)Applied theatre: An exclusionary discourse? (2022)The Making of the English Working Class. (1966)Lenin and Philosophy and Other Essays (1971)Theatre of the oppressed (2020)The Thought of Karl Marx: An Introduction. (1973)A Pedagogy for Liberation (1987)Games for Actors and Non-Actors (1994)Acting on HIV: using drama to create possibilities for change (2013)Performance Affects: Applied Theatre and the End of Effect (2009)The usual suspects: police stop and search practices in Canada (2011)Performing to understand: cultural wealth, precarity, and shelter-dwelling youth (2017)The Practice of Everyday Life (1988)Mikhail Bakhtin: creation of a prosaics (1991)Notes Toward a Performative Theory of Assembly (2015)The post-development reader (1997)Domination and the Arts of Resistance (2007)The United Nations Development Programme (2017)The Right to Stay Put, Revisited: Gentrification and Resistance to Displacement in New York City (2006)Parks and People: An Environmental Justice Inquiry in Baltimore, Maryland (2009)Assemblage and critical urbanism (2011)Emotions as Data in the Act of Jokering Forum Theatre (2007)Bilingual teachers’ performances of power and conflict (2008)Augusto Boal’s Theatre of the oppressed: democratising art for social transformation (2017)Exploring Risky Youth Experiences: Popular Theatre as a Participatory, Performative Research Method (2004)Speaking theatre/doing pedagogy: re‐visiting theatre of the oppressed (2004)Rehearsing for Real Life: The Impact of the InterACT Sexual Assault Prevention Program on Self-Reported Likelihood of Engaging in Bystander Interventions (2011)
this work references cited by second hop

References

  • 2004The Right to the City: Social Justice and the Fight for Public Space790 cited
  • 1993Playing Boal : theatre, therapy, activism162 cited
  • 2007Taming the political: the struggle over recognition in the politics of applied theatre69 cited
  • 2001Searching for the Marxist in Boal22 cited
  • 2002BRECHTIAN SHAMANISM : The political therapy of Augusto Boal22 cited
  • 2000Some Thoughts on Connections between the Political and the Therapeutic in the Work of Fox and Boal8 cited

Cited by

  • 2016The micro-political and the socio-structural in applied theatre with homeless youth14 cited
  • 2018‘Behind every stone awaits an Alexander’: unravelling the limits of participation within micro and macro dramaturgy of participatory refugee theatre9 cited
  • 2021‘To be creative is to exist’: rejecting resilience, enacting Sumud in the cultural resistance of ASHTAR theatre8 cited

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