This essay aims to bring a historical perspective to the theatrical work carried out by Augusto Boal after the establishment of the military dictatorship in Brazil in 1964. The historical trauma generated by the coup re-dimensioned the socially engaged theatrical practice in the country. In Boal's case, it created important contradictions between his theory and practice. Along these lines, this study verified that the reflection proposed by Boal on the Brazilian scene had a broader background and was embedded in a movement of cultural criticism, with the aim of creating an aesthetic and political program of action.
"Relationships Between Theatre and Politics in Boal’s Post-1964 Theatrical Work: The Collectivization of Artmaking as a Self-Conscious Expression of Aesthetic Production,"
Pedagogy and Theatre of the Oppressed Journal: Vol. 7, Article 15.
Available at: https://scholarworks.uni.edu/ptoj/vol7/iss1/15