ABSTRACT
The fundamental theories in Augusto Boal’s Theatre of the Oppressed (TO) grew from a turbulent era of social revolution, no less in Brazil than in other parts of the globe. A youth culture was asserting itself, artistic expression acquired a political voice, and the Cold War duality concerning “the Communist Menace” hung pregnant in the air. Boal’s theatrically formative years, however, were also greatly inflected by Brazil’s domestic search for cultural identity and reformation of artistic models.
