Theater of the Oppressed as a Rhizome

Abstract

The spread of Augusto Boal’s Theater of the Oppressed across the Americas and the rest of the world can be understood in terms of Deleuze and Guattari’s metaphor of the rhizome, whose nomadic habit of growth and propagation mirrors the power of Theater of the Oppressed to reproduce itself in more than 70 countries worldwide. The Theater of the Oppressed rhizome is now deeply rooted in academia and has sprouted in classrooms and in the streets, bringing together students, scholars, administrators, policy makers, and community activists in the pursuit of social justice and human rights. An examination of its use as a pedagogical tool calls attention to its potential for creating a world in which human rights are appreciated and protected. Its use is particularly timely today given the worldwide attention to the rights of the indigenous peoples represented by the adoption of the United Nations Declaration on the Rights of Indigenous Peoples in 2007. La difusión del Teatro del oprimido de Augusto Boal a través las Américas y el resto del mundo puede verse en términos de la metáfora del rizoma utilizada por Deleuze y Guattari, donde el hábito de crecimiento nomádico y propagación refleja el poder de dicho método de reproducirse en más de 70 países alrededor del mundo. El rizoma del Teatro del oprimido se ha enraizado profundamente en el ámbito académico y florecido en aulas y calles, uniendo estudiantes, investigadores, administradores, responsables políticos y activistas comunitarios interesados en la justicia social y los derechos humanos. Un análisis de su uso como herramienta pedagógica muestra su potencial para crear un mundo que reconozca y proteja los derechos humanos. Esto resulta de particular relevancia hoy día dada la atención mundial conferida a los derechos de los pueblos indígenas a partir de la Declaración de las Naciones Unidas sobre los derechos de los pueblos indígenas de 2007.

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