From Spectators to “Spect-Actors”

Augusto Boal’s “Theatre of the Oppressed” offers the spectator a role where s/he can act out oppression and, through particular exercises and games, enact a revolt that empowers him/her to effectively be free from repression. In this case, as Boal (2008) maintains, “the theatre is not revolutionary in itself, but it is surely a rehearsal for the revolution [because] the liberated spectator, as a whole person, launches into action.” ¹ Through intensive practices, the spectator becomes “freed from his chains, [and] finally acts and becomes a protagonist.” ² Indeed, the spectator becomes the hero of his/her own tragedy and is thus capable of actively participating in the process of liberation by effectively revolting against the oppressor.