ABSTRACT
Drawing on the multiplicity of forms that constitute the production process of the new Latin American theatre, Augusto Boal articulates two aspects of the then-current Copernican Revolution underway which would constitute a “continental project.” Boal arrived in Cuba at the moment when the island was living under the continental influence of the so-called “meditation of 68.” In Tecnicas, Boal seeks to systematize the experiences of the continent; the symbolic reference of Vietnam is so great that he also inserts an article by a journalist about a presentation by a theatrical group of the National Liberation Front of Vietnam, made before 6,000 people. Boal repeatedly expressed his appreciation for the people, for real meetings, and for dialogue, always emphasizing that he had learned a lot from these productive and constructive encounters with people from different popular sectors and also with artists from various fields, such as musicians, visual artists, intellectuals, militants, and revolutionaries.
