ABSTRACT
Legislative Theatre was more than a specific technique, a concrete experience of making “‘theatre as politics,’ instead of simply making ‘political theatre.’” In France, in the context of a Legislative Theatre project, he developed Forum Theatre scenes with children who were living in various situations of oppression. A first potentiality of Legislative Theatre is precisely to use the encounter that theatre provides for the oppressed as the source of new rules in the society that protects and recognizes them. One fundamental hypothesis of Theatre of the Oppressed is that it is possible to question the social division of labor that gives to some the right to speak and think and condemns others to the condition of passive observers of the spectacle of the world. The very fetish of form, or the crystallization according to which the Legislative Theatre would be not a process of organization but the moment in which a parliamentary session is mimicked, risks folklorizing and emptying it.
