Julian Boal. Theatre of the Oppressed and Its Times

Abstract

In Theatre of the Oppressed and Its Times, Julian Boal thoughtfully delves into both the theoretical framework and practical application of his father’s, Augusto Boal’s, iconic method: Theatre of the Oppressed (TO). More than a review of TO methods, the book interrogates the effectiveness and implications of Boal’s philosophy in today’s world while demonstrating a moving generational tribute to the continued revolutionary power of theatre. As Julian Boal makes clear in his writing, TO developed from a distinctly radical, left-leaning tradition of political theatre. The historical backdrop to this tradition was marked by the struggle for independence in countries of the Global South, particularly in the political upheavals in 1970s Brazil. TO, as Julian Boal argues, was not designed to entertain, but to inspire social change and revolution.  

    A key theme in Augusto Boal’s work is the shift from established leftist ideologies toward a more immersive and grassroots form of political expression. Extending his father’s critique of hierarchal political organizing, Julian Boal criticizes the role of intellectuals and cultural agents in the theatre industry. As he suggests, those who claim to represent the so-called people, are integral parts of a disciplined society that restricts the masses to positions of dependency or subjugation. At their core, those in such elevated positions operate as intermediaries for oppressive power structures; they are incapable of reflecting the perspectives of different communities or articulating genuine collective truths. As power is productive in nature, it functions as a mechanism for social regulation, leaving discernible and explicit traces on the body, customs, and cognitive processes. Julian Boal suggests that TO offers an alternative by empowering the oppressed to articulate their struggles directly, without the intervention of academics or intellectual elites.

One of the central elements in Augusto Boal’s TO is the concept of the “spect-actor”—a participant who both observes and performs. Building on Brechtian priciples, Julian Boal further develops the audience’s subjective status, granting them the freedom to act out and present their own life stories on stage, thereby eliminating the need for actors to convey their thoughts or experiences. The introduction of the spect-actor indicates the complete breakdown of the longstanding theatrical convention known as the “fourth wall”, thus widening the scope of interpersonal engagement in theatrical performances and enriching its communal significance. Nevertheless, while contemplating the ideal of “rehearsal for revolution”, one must evaluate the authenticity of the spect-actor concept. On the one hand, the spect-actor’s imitation of real life is constructed through subjective cognition, which does not possess a objective analysis and universal significance. On the other hand, TO, characterized by the openness of its text and the democratization of participation, features elements of unpredictability. “Rehearsal for revolution” might incite the spect-actors to form irrational collectives, potentially progessing into a product homologous to Aristotle’s tragic model of suppression.   

Despite these challenges, Julian Boal insists that TO’s social function is valuable, as it opens space for civil discourse and critical consciousness in non-violent ways. According to Boal, in Part Two, the state operates in a realm of theoretical abstraction, which often conceals and obscures the concrete, phenomenological and everyday impacts of power on individuals. His main focus remains on the economic dimension of power, viewing it as the ownership of productive means that define class status. This economic power is seen as a stepping stone to political dominance, empowering interest groups to propagate ideologies that suppress the general populace. Ideology, in this context, is individuals’ lives, revealing the subconscious relationship between individuals and their surroundings.       

At this stage, art becomes a material expression of the ideological state apparatus, reflecting the unconscious constraints imposed on human existence. However, Boal distinguishes between conventional art, which reinforces existing power structures, and leftist art, which has the potential to depict the authentic lifeworld of the oppressed. He believes that leftist theater can empower the oppressed, offering them a means to achieve physical liberation and enabling direct intervention in social and political affairs. Through this medium, the mental repression endured by the oppressed can be dismantled, paving the way for spiritual liberation. When practitioners of TO return to their everyday lives with liberated bodies and minds, they acquire a power capable of challenging the status quo and transforming society. In this sense, the production model of TO functions as a revolutionary battle on the cultural front. It seeks to awaken the revolutionary potential embedded in everyday life, with the ultimate goal of achieving the full emancipation of the oppressed.     

Wherever power relations exist, they function effectively by becoming decentralized, anonymous, and omnipresent. This expanded understanding of power dissolves traditional political boundaries, shifting the focus from narrow legal definitions to a global perspective. Resistance, then, must be redefined to encompass local actions across various fronts. Consequently, contemporary TO practices have evolved beyond their socio-political roots in Latin America into a transcultural and transdisciplinary method that intervenes in a wide range of social concerns.         

In Part Three, Boal presents three specific case studies that illustrate the global expansion of TO practices in India, Portugal, and Brazil. Jana Sanskriti in India arose from rural struggles, engaging farmers in collective analysis and debate of their everyday issues. This consensus-building approach turns rural society into a political space where citizenship is exercised through participation, demonstrating collective will and decision-making power of peasants. In Portugal, Oprima! unites TO practitioners and social movement activists, blending activism and theatre through “critical generosity”. This approach combines performances with workshops to refine scenes and explore dramaturgical alternatives, fostering a political-theatrical dialogue to find practical solutions for social issues. Free from commercial interests, Oprima! promotes equality and collaboration without hierarchical distinctions based on profession or origin. Brazil’s Popular Theatre School was established to train militants, strengthening cultural collectives within social movements. Initially focused on political dramaturgy and Epic Theatre, the school has broadened its outreach, embracing Forum Theatre and fostering critical thinking among young people, with the goal of reclassifying culture as a tool for mass political struggle.        

These case studies reflect the emergence of a new social sphere distinct from both the market and the state, signaling innovative forms of social activism. They embody a renewed humanitarian consciousness centered on individual freedom, equality, and human dignity, moving away from traditional leftist militancy or bourgeois civic ideals. This revolution of everyday life supports oppressed groups by loosening rigid social relations and hierarchies. Near the end of this book, Julian Boal introduces the concept of “subjunctive theatre”, which rejects fixed ideologies in favor of exploring uncertainty and potential. In this view, this concept resonates with the case studies discussed earlier. By facilitating an interplay of ideas and actions, Part Three embodies a shift toward a more nuanced understanding of emancipation. For Boal, emancipation is no longer confined to citizenship, politics, or the traditional goals of Western liberalism. Contemporary political struggles reveal that this narrow conception of emancipation often neglects the specific political needs of marginalized groups—such as women and lower classes—who have been overlooked by orthodox Marxism's universal framework of “class”.     

Ultimately, while theatre may intervene in reality, it remains theatre—not politics—and its impact on actual politic change may be limited. The value of Boal’s book lies in its case studies and exercises, which illustrate the uncompromising spirit of leftist resistance and the enduring revolutionary potential of theatre, even amidst the decline of the “New Left” and left-wing theatre in Western cultures. This book presents a powerful vision of how theatre can engage with societal issues, providing a blueprint for future grassroots movements and theatrical actions.