Legislative Theatre : Using Performance to Make Politics

Preface viii How to read this book ix THE LEGISLATIVE THEATRE BOOK Prologue: Monologue and dialogue 3(3) History The Theatre of the Oppressed returns to its roots - Brazil and politics 6(13) The proposition Theatre as politics and transitive democracy as theatre 19(5) The context How and where is this experiment being carried out? 24(15) The structure 39(47) A compact course on playwriting and theatre arts The tools of our task 53(33) The show and the community 86(40) Laws promulgated during the mandate And one which wasn't 102(4) Appendices 106(19) The history of the Theatre of the Oppressed nuclei 106(7) The dreamt future 113(5) Symbolism in Munich 118(7) THE `NO-ONE HERE IS AN ASS!' BOOK Prologue: `No-one here is an ass!' 125(1) Paulo Freire, my last father 126(4) Clementina's turn 130(3) Saudades for the chicken thieves of yesteryear 133(9) Elizete The woman and the mirror 136(6) The Devil as muse of inspiration 142(7) Resignation Virtuous crime or criminal virtue? 146(3) Memory and the torture chamber 149(4) One hideous crime hides the hideousness of another 153(2) The Devil and the canny man 155(4) `Human rights' are human 159(18) Romeo and Juliet A story of hatred and betrayal 164(13) The suicide of the wind 177(4) The laws of the market, the law of the lion 181(6) The show of the dream and the dream as show 187(8) Family A playscript 195(16) CATEGORIES OF POPULAR THEATRE Prologue 211(2) The first category of popular theatre By the people and for the people 213(9) The second category of popular theatre From the popular perspective but aimed at another audience The third category of popular theatre From an anti-people perspective and aimed at the people - populist theatre! 222(12) The fourth category of popular theatre Newspaper Theatre 234(15) AFTERWORD: THE METAMORPHOSES OF THE DEVIL The individual and the twenty-first century 249