ABSTRACT
Invisible Theatre emerged as a way of keeping protest and agitation and propaganda in the streets, but without making it explicit that their activities were theatrical interventions produced by a group of activists. For theatre to continue fulfilling the role of political struggle in the public sphere, it became invisible, disguising itself, and seeking the most effective connection between theatrical performance and the political life of the people. The first techniques Augusto Boal recovered from the context of 1920s political theatre were those of Newspaper Theatre. In Brazil, the ramping up of censorship and the direct repression of artists from Left-wing theatre groups had created great difficulties for continuing to work in conventional theatres. The use of Invisible Theatre as a device for political intervention, however, never completely disappeared, even in socio-political contexts different from the ones in which Boal began to use it.
