ABSTRACT
Vladimir Safatle warns us that critical forms have been exhausted because reality has internalized all the strategies of criticism; capitalism has already incorporated everything we thought was an outsider. This chapter outlines some basic principles about the idea of listening in the work of Nois de Teatro from a reflective point on the dramaturgical effects of the show Every Patrol Car Has a Little of the Slave Ship, also thinking briefly about relation that the group establishes with residents of the neighbourhood in the creative process. The power of a scene that seeks to decolonize sight and speech goes beyond what has historically been an official reality to recognize in orality the insurgency of a voice that operates by dissent. The show, often presented in the peripheral communities, produces a paradoxical crisis for spectators who repeatedly fail to finalize the character’s judgement, sometimes abstaining themselves from voting and, sometimes, raising new debates beyond what we have built on stage.
