Introduction of the Participants Introduction of Theatre of the Oppressed Expectations and Concerns vis-à-vis the Workshop Overview of Training Schedule
I. FEELING WHAT WE TOUCH
This category deals with tactile sensitivity: our naked bodies are constantly touching the air, our clothes, other parts of our own bodies and the bodies of others, but we feel very little of what we are touching – this series helps the actor to feel more of what she touches; also, it is concerned with mechanized ways of walking and moving, with externalizing emotions, with feeling and discovering new ways of structuring her muscles and helping the actor to find new ways of expressing herself and acting on stage and in life.
First Series: General Exercises Columbian Hypnosis (w/ Variations) The Greek exercise The Image of the Hour
Second Series: Walks Slow Motion
Third Series: Massages In a Circle
Fourth Series: Integration Games The Bear of Poitiers
In this series the actors have to understand that it is important to find ‘inner’ rhythms and not to seek to make portraits of people, or even worse, caricatures. If one tries to show the rhythm of love, hate, fear, I don’t have to make faces, contortions or other grimaces, or show ways of walking that are characteristic of particular people.
First Series: Rhythm Changing Rhythms The Machine of Rhythms Chain Rhythm Dialogue
Second Series: Melody Orchestra
Third Series: Sounds and Noises Sound and Movement Ritual Sound
Fourth Series: The Rhythm of Respiration Inflatable Doll Two Groups, Facing Each Other
Of all the senses, sight is the great monopolist. Because we see, we don’t bother to perceive the world outside through the other senses, which remain dormant or become atrophied. The first part of this section is entitled “The Blind Series”. In these exercises, we voluntarily deny ourselves the sense of sight in order to enhance the other senses and their capacity for perception of the outside world – just as people who really are blind can accomplish feats of perception which astonish those of us who are sighted.
The Blind Series The Imaginary Journey The Siren’s Song The Space Series Without Leaving a Single Space Empty (w/ Variations)
IV. SEEING WHAT WE LOOK AT
These three exercises help us see what we are looking at – the mirrors sequence and the modeling sequence. The exercises develop the capacity for observation by means of ‘visual dialogues’ between participants; obviously the simultaneous use of spoken language is excluded. Symbolic gestures, such as those used to signify ‘OK’ or ‘Yes’ or ‘No’, should be avoided, as should any sign corresponding exactly to the word(s) it replaces.
The Mirrors Sequence The Plain Mirror The Distorting Mirror The Rhythmic Mirror The Modeling Sequence Sculptor Touches Model (w/ Variation) Sculpture with Four of Five People
SAMPLE Day Two
Afternoon Session
IV. SEEING WHAT WE LOOK AT (continued)
Image Game Complete the Image (w/ 2 people, 3 people) Complementary Activities Game of Mask and Ritual Collective Creation of a Mask Exchange of Masks The Image of the Object Homage to Magritte The Invention of Space and the Spatial Structures of Power Inventing the Space in a Room Photographing the Image Games Involving the Creation of Characters The Child’s Fear The Opposite of Myself
SAMPLE Day Three
Morning Session
V. THE MEMORY OF THE SENSES
If I bang my hand, I feel the impact. If I remember banging my hand yesterday, I can awaken in myself an analogous sensation. This series helps us to reconnect memory, emotion and imagination when rehearsing a scene or preparing a future action.
Reconnecting Memory, Emotion and Imagination: Memory and Emotion: Remembering a Day in the Past Rehearsal on the Stage of the Imagination
IMAGE THEATRE
Dealing with images we should not try to ‘understand’ the meaning of each image, to apprehend its precise meaning, but to feel those images, to let our memories and imaginations wander: the meaning of an image is the image itself. Image is a language. The whole method of Theatre of the Oppressed, and particularly Image Theatre, is based on the multiple mirror of the gaze of others – a number of people looking at the same image, and offering their feelings, what is evoked for them, what their imaginations create around that image.
If an image is interpreted in just one way it ceases to be Image Theatre and becomes a mere illustration of the words spoken. Additionally, a message does not exist without a sender and a receiver. And both receiver and sender integrate and are contained in the message: they are part of it. That’s why, in order to really understand a message, it is important to receive and send it in different languages. An image is one of many possible languages, and not the least of them.
Image Techniques: Models and Dynamisations Image of the Word: Illustrating a Subject with your Body Image of the Word: Illustrating a Subject using Other Bodies Ritual Gesture Ritual
SAMPLE Day Three
Afternoon Session
IMAGE THEATRE (continued)
Images of Transition: the Technique in Action Image of Transition New Image Theatre Techniques: The Cop in the Head Dissociation – Thought, Speech, Action Somatisation The Three Wishes The Screen Image
SAMPLE Day Four
Morning Session
FORUM THEATRE
Forum Theatre consists, in essence, of proposing to a group of spectators, after a first improvisation of a scene, that they replace the protagonist (or antagonist) and try to improvise on his/her actions. The real protagonist should, ultimately, improvise the variation that has motivated him/her the most. The Forum Theatre is extremely useful as extraversion work for a protagonist who wants to try alternatives to her usual behavior.
Theme Development Image of Theme Logical Movement of that Image Improvise Image of the Things Kinetic Image Image of the Chinese Crisis Monologue of their Desire Image of the Desire in Action
SAMPLE Day Four
Afternoon Session
EXERCISES: Preparing for Forum Theatre
Stop! Think! Rashomon Analytical Rehearsal of Emotion/Style Telegram Artificial Pause The Reconstruction of the Crime Play to the Deaf
SAMPLE Day Five
Morning Session
FORUM THEATRE IN ACTION
Large Group Identifies List of ‘Oppressions’ Subgroups Select One Theme Subgroups Develop Short Play around Theme
SAMPLE Day Five
Afternoon Session
FORUM THEATRE IN ACTION
Joker Basics Joker Training:
Participant #1 Jokers a Scene Participant #2 Jokers a Scene Participant #3 Jokers a Scene Participant #4 Jokers a Scene Participant #5 Jokers a Scene Participant #6 Jokers a Scene Participant #7 Jokers a Scene
*At the end of each individual Joking session, the large group evaluates “What worked well” with the participant’s individual joking style and “How they could improve”. Discussion ensues on what makes a good Joker…
SAMPLE Day Six
Morning Session
FORUM THEATRE IN ACTION
Large Group Reviews Remaining List of ‘Oppressions’ Subgroups Select One Theme Subgroups Develop Short Play around Theme
SAMPLE Day Six
Afternoon Session
FORUM THEATRE IN ACTION
Review of Joker Basics Joker Training:
Participant #8 Jokers a Scene Participant #9 Jokers a Scene Participant #10 Jokers a Scene Participant #11 Jokers a Scene Participant #12 Jokers a Scene Participant #13 Jokers a Scene Participant #14 Jokers a Scene
*At the end of each individual Joking session, the large group evaluates “What worked well” with the participant’s individual joking style and “How they could improve”. Discussion ensues on what makes a good Joker…
SAMPLE Day Seven
Morning Session
(Depending on the time allotted to the trainer, any of the following activities can be included.)
1. Conflict Resolution Skills for the Joker (Explanation: Forum Theatre can become quite emotionally charged and knowledge of conflict resolution skills and mediation skills can be very helpful for Jokers expecting conflict in the forum setting.)
2. ‘Selling’ Forum Theatre to Colleagues/Strangers/New Contacts (Explanation: Forum Theatre advocates frequently find themselves having to defend art-based peacebuilding work, especially in countries where art has negative connotations. In Pakistan, this session was essential for theatre activists due to the pervasive negative stereotypes surrounding theatre and art in general.)
3. Working with NGO Organizers: The Basics (Explanation: In many countries, Forum Theatre groups are invited by NGOs interested in exploring new ways of addressing local, regional and national conflicts. This session addresses communication flow between theatre activists and NGO representatives so that the Forum Theatre process can be as effective as possible.)
4. Forum Theatre Summary (Explanation: This summary session is a must for every Forum Theatre workshop. This enables participants to look back on the workshop and review the new tools and skills that have been acquired and to address any unanswered questions. Additionally, all trainers should provide a space for participants to evaluate the effectiveness of the training so that trainers can receive advice for their next training.)