Practising for the revolution? The influence of Augusto Boal in Brazil and Africa

Recasting Transnationalism through Performance

“…Yet Plastow notes that in Africa, TO artists may be less willing to bend the rules of forum theatre. Since they often learn it from Boal's books or others who have read Boal, they may perceive his system as something to be rigidly followed (Plastow 2009). …”

“…Perhaps the most famous example is Burkina Faso's Atelier-Théâtre Burkinabé (ATB), a theatre company that melds forum theatre with the West African genre of burlesque musical performance called koteba. ATB also hosts an international festival for Theatre for Development every two years in Ougadougou, the country's capital (Morrison 1991;Plastow 2009). In addition, Senegal's Kàddu Yaraax theatre company has hosted a Forum Theatre Festival in Dakar each year since 2005.…”

Para uma Tipologia da Participação nas Práticas Artísticas Comunitárias: a experiência de três grupos teatrais no Brasil e Portugal

“…In the literature, the results produced by this type of practices are also highlighted, specifically, stimulating participation, promoting individual and group skills, as well as the development and consolidation of personal and community networks (Ramos;Sanz, 2010;Sloman, 2012;Winchester, 2013). Some studies indicate that the type of processes and time are essential, in other words, it is relevant to have continuous projects connected to the times of participants and communities, so that changes can happen (Plastow, 2009;Sloman, 2012). In this regard, it is stated that, if the participatory processes are not an integral part of the practices, the impact of artistic creation is limited (Boeren, 1992;Sloman, 2012).…”

“…In this regard, it is stated that, if the participatory processes are not an integral part of the practices, the impact of artistic creation is limited (Boeren, 1992;Sloman, 2012). Finally, some limitations are pointed out, such as the excessive association with the occasional intervention of nongovernmental organizations (Prentki, 1998;Hopkins, 2014) and high risks of political manipulation, decentralizing the practices from the participants' interests (Nogueira, 2008;Plastow, 2009).…”

“…These dynamics manifest the existence of a confrontation of distinct logics between artistic production, in a community framework, and institutional production that cohabit within the same process. The starting points, objectives and different ways of doing things seem to have implications for the design, implementation and reception of projects, with consequences for the creation processes and trajectories of these groups (Nogueira, 2008;Plastow, 2009). A proposal based on collective action, open and dialogical, built on participation, contrasts with the rigid, formal action of some institutions (e.g., the functioning of some partner institutions of these groups, particularly the funding institutions) (Prentki, 1998;Hopkins, 2014).…”