ABSTRACT
Cultural responses to social calls rely on a set of relationships: between the precipitating circumstances and a community; the community and an artist, including cultural expression meaningful to both; the artist’s own artistic inclinations and principles; and other partners available to situate the work in a broadly social realm. Returning to the question of choosing theatrical methods that I was asked at the Pedagogy and Theatre of the Oppressed conference, where the idea for this book was planted, I see these relationships at the crux of that choice.
