Theatre of the Oppressed

Overview


The innovative Brazilian playwright, director and international lecturer explicates Aristotle's poetics and the philosophies of Machiavelli, Hegel and Brecht to determine the extent to which their chief components--imitation, catharsis and, ultimately, audience control--serve up to support the status quo of a society rather than facilitate change.
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Theatre of the Oppressed

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Overview


The innovative Brazilian playwright, director and international lecturer explicates Aristotle's poetics and the philosophies of Machiavelli, Hegel and Brecht to determine the extent to which their chief components--imitation, catharsis and, ultimately, audience control--serve up to support the status quo of a society rather than facilitate change.
Read More Show Less

Product Details

  • ISBN-13: 9780930452490
  • Publisher: Theatre Communications Group
  • Publication date: 1/1/1993
  • Series: Pluto Classics Series
  • Pages: 208
  • Sales rank: 450,700
  • Product dimensions: 5.50 (w) x 8.50 (h) x 0.60 (d)

Table of Contents

Foreword
1 Aristotle's Coercive System of Tragedy
Art Imitates Nature
What is the Meaning of "Imitation"?
What, then, is the Purpose of Art and Science?
Major Arts and Minor Arts
What does Tragedy Imitate?
What is Happiness?
And What is Virtue?
Necessary Characteristics of Virtue
The Degrees of Virtue
What is Justice?
In What Sense can Theater Function as an Instrument for Purification and Intimidation?
The Ultimate Aim of Tragedy
A Short Glossary of Simple Words
How Aristotle's Coercive System of Tragedy Functions
Different Types of Conflict: Hamartia and Social Ethos
2 Machiavelli and the Poetics of Virtu
The Feudal Abstraction
The Bourgeois Concretion
Machiavelli and Mandragola
Modern Reductions of Virtu
3 Hegel and Brecht: The Character as Subject or the Character as Object?
The "Epic" Concept
Types of Poetry in Hegel
Characteristics of Dramatic Poetry, Still According to Hegel
Freedom of the Character-Subject
A Word Poorly Chosen
Does Thought Determine Being (or Vice Versa)?
Can Man be Changed?
Conflict of Wills or Contradiction of Needs?
Empathy or What? Emotion or Reason?
Catharsis and Repose, or Knowledge and Action?
How to Interpret the New Works?
The Rest Does not Count: They are Minor Formal Differences Between the Three Genres
Empathy or Osmosis
4 Poetics of the Oppressed
Experiments with the People's Theater in Peru
Conclusion: "Spectator," a Bad Word!
5 Development of the Arena Theater of Sao Paulo
Need for the "Joker"
Goals of the "Joker"
Structures of the "Joker"
Appendices
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