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| List of figures | ||
| Translator's introduction to the first edition | ||
| Preface to the second edition: The Royal Shakespeare Company, theatre in prisons and landless peasants | 1 | |
| Preface to the first edition: the fable of Xua-Xua, the prehuman woman who discovered theatre | 11 | |
| Theatre of the Oppressed in Europe | 18 | |
| The Godrano experience: my first Forum Theatre in Europe or the ultimate spect-actor/protagonist! | 19 | |
| The Structure of the Actor's Work | 29 | |
| The primacy of emotion | 29 | |
| Rationalising emotion | 35 | |
| A la recherche du temps perdu | 37 | |
| The dialectical structure of the actor's interpretation of a role | 40 | |
| The Arsenal of Theatre of the Oppressed | 48 | |
| Introduction: a new system of exercises and games from Theatre of the Oppressed | 48 | |
| Feeling What We Touch (Restructuring Muscular Relations) | 50 | |
| Listening to What We Hear | 92 | |
| Dynamising Several Senses | 114 | |
| Seeing What We Look At | 129 | |
| The Memory of the Senses | 171 | |
| Image Theatre | 174 | |
| Rehearsal Exercises for any Kind of Play | 217 | |
| The Early Forms of Forum Theatre | 241 | |
| The rules of the game | 242 | |
| Dramaturgy | 242 | |
| Staging | 243 | |
| The performance game | 243 | |
| Examples of Forum Theatre | 245 | |
| Forum Theatre: Doubts and Certainties: Incorporating a New Method of Rehearsing and Devising a Forum Theatre Model | 253 | |
| Twenty fundamental topics | 254 | |
| First Experiences with Invisible Theatre | 277 | |
| Examples of Invisible Theatre | 277 | |
| Artistic Creation and Divine Madness: A Meditation on Art and the Miraculous | 289 | |
| Passion and art | 293 | |
| The mad artist and the artist madman | 296 | |
| Postscript: The Pedagogy of Fear - Theatre and the Twin Towers: An Essay After 11 September, 2001 | 298 |
| Price | Condition | Delivery | Seller | Action |
| $125.00 | Digital |
| WonderClub |
Seong Kang
reviewed Games for Actors and Non--Actors on January 31, 2010 Games for Actors and Non--Actors
Boal, a man who truly understands the balance between artistry and education, provides an excellent set of instructive methods for theatre practitioners, or indeed, any one interested in using theatre to help colleagues, friends or patients, access difficult elements within their own natures.
While I can't speak to this book's validity as a text for artistic therapy, I can say that reading this book sparked such a desire to teach and see these exercises in practice, that it was all I could do not to walk up to random people on side walks and say: "excuse me, do you feel like playing a little game called 'Analogy'?" But then I remembered that such educator related neuroses probably would not be looked upon favorably by those who renew my teaching license.
Still, the strength of Boal lies in his gentle, considerate guidance. The same manners he used in running his own workshops are on display in the text here. He doesn't mandate obedience to the forms, but rather offers assistance. Any teacher who hopes to help students on their way to greater artistry could benefit from a review of Boal's methods.
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