ABSTRACT
To object to the use of Theatre of the Oppressed (TO) for the recruitment and domestication of workers seems to be the critique of the practice that most easily unites the vast majority of those who do—or are interested in—the theatrical techniques invented by Augusto Boal. To think that the problems of TO come only from a lack of respect for some kind of “orthodoxy,” either due to innocence or bad faith, precludes several other hypotheses on the important issue of the lessening of the political potential of TO. The negative aspect from which contemporary TO would suffer would be that its practitioners deviate from the initial goals for which militants forms were specifically invented. The Left of the TO world thus—more or less openly—calls for a return to a certain orthodoxy that could easily be found in the texts of Boal.
