“In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life….The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life.”

— Augusto Boal

Games for Actors and non-Actors (1992)
Context: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

Adopted from Wikiquote. Last update May 16, 2022. History

Help us to complete the source, original and additional information

Do you have more details about the quote "In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life….The The…" by Augusto Boal?

Augusto Boal 14

Brazilian writer 1931–2009

Related quotes

“The difference between reality and fiction? Fiction has to make sense.”

Tom Clancy (1947–2013) American author

Attributed to an interview on Larry King Live; also quoted in Quotable Quotes (1997) edited by Deborah Deford
Attributed variant: The difference between fiction and reality is that fiction has to make sense.
Clancy here expresses an idea evoked in similar statements made by others, all derived from the orignial made by Lord Byron:
Lord Byron: Truth is always strange; stranger than fiction.
Mark Twain: Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities, truth isn't.
G. K. Chesterton: Truth must necessarily be stranger than fiction, for fiction is the creation of the human mind and therefore congenial to it.
Leo Rosten: Truth is stranger than fiction; fiction has to make sense. (attributed)
1990s

“The only difference between reality and fiction is that fiction needs to be credible.”

Mark Twain (1835–1910) American author and humorist

“Fiction is unlike reality because it has an end, a conclusion, which allows the characters to stroll happily, or perhaps simply more wisely, out through the climax into the epilogue. But life is a tapestry. It has no satisfactory end. There are simply periods of acceleration and delay, victory and frustration, seasoned with periodic jolts of reality.”

Jack McDevitt (1935) American novelist, Short story writer

Source: Academy Series - Priscilla "Hutch" Hutchins, Odyssey (2006), Chapter 44 (p. 412)

“When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists.”

Augusto Boal (1931–2009) Brazilian writer

Games for Actors and non-Actors (1992)
Context: When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.