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By Augusto Boal

«Boal ha conseguido lo que Brecht soñó: crear un teatro útil que resulte entretenido, divertido e instructivo. Es una clase diferente de teatro, una especie de terapia social -centra l. a. mente, relaja el espíritu y proporciona a las personas una nueva perspectiva para su propia situación.»

Richard Schechner

«Esta es una útil guía para profundizar en el Teatro del Oprimido de Boal. Hay que dar l. a. bienvenida a su publicación, el trabajo de Boal merece y exige ser imitado.» Theatre study International

Juegos para actores y no actores se inscribe en el movimiento teatral creado por Augusto Boal conocido como Teatro del Oprimido. Una corriente nacida en l. a. década de los cincuenta en Brasil, en el seno de una renovación cultural generalizada que se desarrolla en torno a un principio esencial: l. a. práctica del arte escénico como una actividad dedicada a l. a. mejora efectiva de l. a. vida de los grupos sociales menos favorecidos. Se trata ante todo de facilitar el reconocimiento de l. a. naturaleza de las opresiones, para poderlas combatir.

El Teatro del Oprimi-do, corolario de l. a. filosofía del reencuentro entre teatro y sociedad que Augusto Boal ha gestado, requiere para su práctica de un conjunto de ejercicios, más de cuatrocientos, recogidos en Juegos para actores y no actores y dirigidos tanto a actores profesionales como a aficionados. Más allá de sus orígenes teatrales, Juegos para actores y no actores se ha impuesto en todo el mundo como un texto basic en diversas actividades humanísticas: psicología, psicoterapia, arte, educación, trabajo social y trabajo político.

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W h y b o t h e r to i m p r o v e musical technique if the aim of perf o r m a n c e is to share a social e x p e r i e n c e ? T h e functions o f music i n society m a y b e the decisive f a c tors p r o m o t i n g or inhibiting latent musical ability, as well as affecting the choice of cultural concepts and materials with which t o c o m p o s e music. W e shall n o t b e able t o explain the principles of c o m p o s i t i o n and the effects of m u s i c until we understand b e t t e r the relationship b e t w e e n musical and h u m a n e x p e r i e n c e .

B u t I am sure that there is ultim a t e l y o n l y o n e e x p l a n a t i o n and t h a t this could b e discov- 18 H O W MUSICAL IS MAN? Musical phrase used in flute music from Butembo 2. sage, using "languages," FIGURE Two possible interpretations of the same musical pasa tension/relaxation model and harmonic and physical respectively. ered by a c o n t e x t - s e n s i t i v e analysis of t h e music in culture. W h e n I analyzed the flute melodies in 1 9 5 5 , I w a s w o r k i n g with a n n o t a t e d recordings and a specimen i n s t r u m e n t which I learned to play.

A n d y e t the simplicity o r c o m p l e x i t y of the m u s i c is ultimately irrelevant: t h e equation 34 HOW MUSICAL should not be LESS = DIFFERENT. LESS = IS BETTER or MORE MAN? = BETTER, b u t MORE or It is the human c o n t e n t o f the h u m a n l y o r - ganized sound t h a t " s e n d s " people. Even if this emerges as an exquisite turn of melody or h a r m o n y , as a " s o n i c o b j e c t " if you like, it still began as the t h o u g h t of a sensitive h u m a n b e i n g , and it is this sensitivity that m a y arouse (or n o t ) the feelings o f a n o t h e r h u m a n being, i n m u c h the s a m e w a y that m a g n e t i c impulses c o n v e y a telephone conversation from one speaker to a n o t h e r .

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