{"id":85,"date":"2016-02-09T20:11:54","date_gmt":"2016-02-09T20:11:54","guid":{"rendered":"https:\/\/www.critical-stages.org\/2\/?p=85"},"modified":"2022-05-29T09:38:45","modified_gmt":"2022-05-29T09:38:45","slug":"remembering-boal-through-images","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/2\/remembering-boal-through-images\/","title":{"rendered":"Remembering Boal through images"},"content":{"rendered":"

Organised by Clara de Andrade<\/strong>[1]<\/sup><\/a><\/p>\n

\"1
1
Boal graduates in Industrial Chemestry, 1952 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"2
2
Gal Costa, Maria Beth\u00e2nia, Caetano Veloso, Gilberto Gil, Tom Z\u00e9 e Pitti in Arena conta Bahia<\/em> (Arena tells Bahia<\/em>), S\u00e3o Paulo, 1965 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"3
3
Maria Beth\u00e2nia in Show Opini\u00e3o<\/em> (Opinion Show<\/em>), S\u00e3o Paulo, 1965 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"4
4
Marilia Medalha and Dina Sfat in Arena conta Zumbi<\/em> (Arena tells Zumbi<\/em>), S\u00e3o Paulo, 1965 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"5
5
Cover of the programme bill of the first Festival of Opinion, S\u00e3o Paulo,1968 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"6
6
A resist\u00edvel ascens\u00e3o de Arturo Ui<\/em> (The Resitible Rise of Arturo Ui<\/em>), de Bertolt Brecht, with Giafrancesco Guarnieri and the cast of Teatro de Arena, S\u00e3o Paulo, 1970 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"7
7
H\u00e9lio Ari, Fernando Peixoto, Isabel Ribeiro, Ben\u00ea, Zez\u00e9 Motta and Cec\u00edlia Thumin Boal, in Arena Conta Zumbi<\/em> (Arena tells Zumbi<\/em>), M\u00e9xico 1970 \u00a9 Emanuel (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"8
8
Boal in a playful demonstration of his play, written in Buenos Aires, O grande acordo internacional do tio Patinhas<\/em> (El gran acuerdo international del tipo Patilludo<\/em>), 1971 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"9
9
Torquemada<\/em>, written in Tiradentes Jail, in S\u00e3o Paulo, performed in Buenos Aires, 1971 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"10
10
Torquemada<\/em> in Buenos Aires, 1971 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"11
11
Torquemada<\/em> in Buenos Aires, 1971 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"12
12
Torquemada<\/em> by students of New York University, New York, 1971 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"13
13a
Boal with \u00c9mile Copfermann,first editor of the Teatro do Oprimido<\/em> (Theatre of the Oppressed<\/em>) in France (Ed. Maspero), Paris, 1978 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"13b
13b
Peter Brook with members of the audience doing an exercise directed by Boal at Teatro Cacilda Becker, Rio de Janeiro, 1980 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"14
14
Murro em ponta de faca<\/em>, written and directed by Boal, at the Schauspielhaus, Graz, \u00c1ustria, 1980 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"15
15
Boal with some students in the workshop of Teatro do Oprimido<\/em> (Theatre of the Oppressed<\/em>), in \u00c1ustria, 1980 \u00a9 Margarete Neundlinger (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"16
16
Workshop of the Teatro de Oprimido<\/em> (Theatre of the Oppressed<\/em>, in \u00c1ustria, 1980 @ Margarete Neundlinger (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"17
17
Boal with the cast of Nada mais a<\/em> Calingasta<\/em> (Calingasta<\/em>), world premi\u00e8re of Julio Cort\u00e1zar\u2019s play, directed by Boal at the Schauspielhaus in Graz \u2013 \u00c1ustria, 1982 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"18
18
Julio Cort\u00e1zar after seeing the performance directed by Augusto Boal \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"19
19
The Centre for the Theatre of the Opressed of Paris opens at the Theatre Cacilda Becker, Rio de Janeiro, 1980 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"20
20
Rehearsal of Erendira<\/em>, adapted from Gabriel Garc\u00eda M\u00e1rquez\u2019s novel and directed by Boal, Th\u00e9\u00e2tre de L’Est Parisien, Paris, 1983 \u00a9 Jacques Gayard (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"21
21
Erendira<\/em>, adapted from Gabriel Garc\u00eda M\u00e1rquez\u2019s novel and directed by Boal, Th\u00e9\u00e2tre de L’Est Parisien, Paris, 1983 @ Jacques Gayard (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"22
22
Erendira<\/em>, adapted from Gabriel Garc\u00eda M\u00e1rquez\u2019s novel and directed by Boal, at the Th\u00e9\u00e2tre de L’Est Parisien, Paris, 1983 @ Jacques Gayard (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"23
23
Performance of the Teatro do Oprimido<\/em> (Theatre of the Oppressed<\/em>) at a public school, Rio de Janeiro 1986 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"24
24
Invitation to the preview of Fedra<\/em>, by Racine, translated by Millor Fernandes, directed by Augusto Boal, performed by Fernanda Montenegro, Fernando Torres and Edson Celulari, Rio de Janeiro 1986 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"25
25
Fernanda Montenegro in Fedra<\/em>, by Racine, Rio de Janeiro1986 \u00a9 Claudia Ferreira (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"26
26
Performance of the Teatro do Oprimido<\/em> (Theatre of the Oppressed<\/em>), at the CCBB, when a lady invades the stage and creates what would be named Teatro-F\u00f3rum, Rio de Janeiro, 1993 \u00a9 Augusto Boal Archive UNIRIO<\/figcaption><\/figure>\n
\"27
27
Boal with Lula \u00a9 Jorge Nunes (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"28
28
Boal with Paulo Freire (by his wife Anita Freire) after being condecorated by Boal, Rio de Janeiro, 1995 \u00a9 Mariana de Sousa (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\"29
29
Cover of the American edition of Teatro do Oprimido<\/em><\/figcaption><\/figure>\n
\"30
30
Cover of the Brazilian edition of Stop! ces’t magique<\/em><\/figcaption><\/figure>\n
\"31
31
Augusto Boal photographed by Fabian Boal, 2002 (Courtesy of Augusto Boal Archive UNIRIO)<\/figcaption><\/figure>\n
\n

\"1115032660\"<\/p>\n

<\/a>[1] Clara de Andrade <\/b>is an actress living in Rio de Janeiro. She is a postgraduation student and researcher of Performance Arts (Artes C\u00e9nicas) at the University of Rio de Janeiro, UNIRIO. Her main research is on performance processes and methods developed by Augusto Boal while in exile.<\/p>\n

Copyright \u00a9<\/strong> 2009 Clara de Andrade
\nCritical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n

\"\"<\/a><\/p>\n

This work is licensed under the
\nCreative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"

Organised by Clara de Andrade[1] [1] Clara de Andrade is an actress living in Rio de Janeiro. She is a postgraduation student and researcher of Performance Arts (Artes C\u00e9nicas) at the University of Rio de Janeiro, UNIRIO. Her main research<\/p>\n","protected":false},"author":1,"featured_media":87,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-85","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-special-files","","tg-column-two"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/2\/wp-content\/uploads\/sites\/4\/2016\/02\/1263537829.png","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7eLHg-1n","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/posts\/85","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/comments?post=85"}],"version-history":[{"count":1,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/posts\/85\/revisions"}],"predecessor-version":[{"id":711,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/posts\/85\/revisions\/711"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/media\/87"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/media?parent=85"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/categories?post=85"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/2\/wp-json\/wp\/v2\/tags?post=85"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}