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Julian Boal to train enabling theatre workshop leaders

Enabling Theatre (ET) uses the Forum Theatre methodology of Augusto Boal to explore and seek soluti... [more]

2nd Theatre of the Oppressed Festival

IRC is organizing a theatre festival which will be held at Lahore from December 19-22, 2003. The 52 ... [more]

Making theatre happenŠ

Š is more than just making theatre! While Artistic Director, David Diamond is still on sabbatical (... [more]

Forum Theatre in Europe - Call for Submissions

Helumt Wiegand PhD, German TO practitioner and author of a book about the development of Theatre of ... [more]

O TEATRO COMO ARTE MARCIAL

A Editora Garamond convida para o lançamento do livro de A u g u s t o B o a l O TEATRO COM... [more]

News

Julian Boal to train enabling theatre workshop leaders
posted on 2003-11-09

Enabling Theatre (ET) uses the Forum Theatre methodology of Augusto Boal
to explore and seek solutions to issues which disable. Augusto Boal, Brazilian theatre director, author and activist of international fame, has trained ET two years running in Hebden Bridge, West Yorkshire: 3 days March 2002, 5 days April 2003.
Boal said “It is really wonderful that theatre is able to help people, not only to recover, get better, but to decide themselves that they are well again and capable. Enabling Theatre really enables.”
Enabling Theatre had a half hour programme on Radio 4 ‘The Courage to be Happy’, July 2002.

We are in the process of setting up an ET workshop leaders training programme at Halifax School of Integrated Arts, to be led by Julian Boal, Augusto’s son. The course will be a week a month for four months; then each trainee will start to run their own regular workshops in a place that suits them. Enabling Theatre’s Development Worker will help them set up their workshops and get established; and Julian will visit from time to time and offer assistance and feedback. No fee, just commitment to running regular workshops.

Dates for the full course have yet to be agreed.
Introductory Week November 24th-28th 2003
– so people can try it out, see what is involved before committing to the full course.

Contact Susan + 01422-844718
susan@susanquick.plus.com

2nd Theatre of the Oppressed Festival
posted on 2003-10-20

IRC is organizing a theatre festival which will be held at Lahore from December 19-22, 2003. The 52 theatre groups under the network of IRC all over Pakistan will be participating in this festival. An international delegation will also take part in this event.
Everyday there will be three performances making a total of 12 performances throughout the event.

The morning session will include workshops and experience sharing programs.

During this festival, IRC will also conduct its 'General Council Meeting'. The 'General Council' comprises one member representative from each of the theatre groups under IRC network.

The event will include some video presentations comprising documentaries made by IRC including a documentary on “1st Theatre of the Oppressed Festival”, held on 22-30 June, 2002, in Lahore. The other major documentaries that will be shown, include:
1. A documentary on Bonded Labour.
2. A documentary on Dastak, a shelter house for women.

IRC

Making theatre happenŠ
posted on 2003-09-12

Š is more than just making theatre! While Artistic Director, David Diamond is still on sabbatical (and writing a book!), the rest of the staff at Headlines are busy with raising funds, outreaching to community partners, lining up volunteers, and making plans for our 2004 mainstage production, Practicing Democracy.

What is Practicing Democracy? This project grows out of the Legislative Theatre experiments of Brazilian Director, Augusto Boal. In March of 2004, Headlines will tour an interactive theatre show exploring how the city can respond to the cuts to welfare. The play is performed once - showing a series of conflicts. Then, it is performed a second time and the audience is invited to replace characters in the play and try creating solutions. Based on the audience's ideas, a lawyer will create a report for Vancouver City Council. Using theatre, Practicing Democracy invites Vancouver residents to create civic legislation!

The show will tour through Vancouver community halls March 3 21, 2004. In early April, the Lawyer's Report will go to Vancouver City Council, service providers, media and to you via our website.

#323 - 350 East 2nd Avenue, Vancouver BC, Canada V5T 4R8
Tel (604) 871-0508 Fax (604) 871-0209

Headlines website

Forum Theatre in Europe - Call for Submissions
posted on 2003-09-09

Helumt Wiegand PhD, German TO practitioner and author of a book about the development of Theatre of the Oppressed, will be editing a new book about Forum Theatre in Europe. Submissions from Germany, Austria, Italy, Croatia and the Netherlands were already announced.

Practitioners from other European countries are encouraged to also contribute to this book, which will be published in German next year. The focus of the book is on the practice of TO in the respective countries. Deadline for submissions is Nov. 30, 2003. Please contact Helmut Wiegand for further details.

O TEATRO COMO ARTE MARCIAL
posted on 2003-08-28

A Editora Garamond convida para o lançamento do livro de

A u g u s t o B o a l

O TEATRO COMO ARTE MARCIAL

Dia 11 de agosto, segunda-feira, de 19:30 às 22:30 h

Restaurante La Fiorentina
Av. Atlântica, 458-A

Augusto Boal for the First time in France, in Toulouse !
posted on 2003-08-28

The Company Theâtre Sans Frontière welcomes,

From 27 till 31 October 2003 the incontested master of Theater of the Oppressed will offer training intended for professionals. It is the occasion, since the festival of Toronto, to take up with the network of "Theater of the Oppressed ".

Theâtre Sans Frontière joins in three international projects today: Germany, Spain and France and weaves partnerships with Italy, Belgium and Hungary. For more information about Theâtre Sans Frontière and our projects, we invite you on our site: www.tsfopprime.com or to contact us by mail tsfopprime@wanadoo.fr and in the 05 61 62 36 36, we shall be happy to retie links with you and to exchange our know-how on the theater of the Oppressed.

In very soon,

Aude BADIA for Theâtre Sans Frontière
----------
Augusto Boal pour la 1ère fois en France, à Toulouse !

La Compagnie Théâtre Sans Frontière accueille, Du 27 au 31 Octobre 2003 le maître incontesté du Théâtre de l’Opprimé pour une formation destinée aux professionnels.

C’est l’occasion, depuis le festival de Toronto, de renouer avec le réseau «Théâtre de l’Opprimé».

Théâtre Sans Frontière s’inscrit aujourd’hui dans trois projets internationaux : Allemagne, Espagne et France et tisse des partenariats avec l’Italie, la Belgique et la Hongrie.

Pour plus d’informations sur Théâtre Sans Frontière et nos projets, nous vous invitons sur notre site : www.tsfopprime.com ou à nous contacter par mail tsfopprime@wanadoo.fr et au 05 61 62 36 36, nous serons heureux de renouer des liens avec vous et d’échanger nos savoir-faire sur le théâtre de l’Opprimé.

Aude BADIA pour Théâtre Sans Frontière

www.tsfopprime.com

BLAGG! - Prison Theatre Event
posted on 2003-06-25

TiPP are planning to hold a two day event to launch CATR's(Centre for Applied Theatre Research) evaluation report on BLAGG! Offending Behaviour Programme - Manchester and Bury Yots.

We would like to invite up to twenty five people with experience of BLAGG! to join us in Manchester on 4/5th September. It will be a two day event with one session being a larger launch event for a wider audience.

The aims of the event are as follows:
-To share the findings of the evaluation report with staff using BLAGG! and the wider criminal justice community
-To share theory and practice between Yots and other organisations
-To develop practice with input from BLAGG's original creator and other experienced professionals
-To refresh and reinforce learning from original BLAGG! Training
-To provide a forum for support and networking for Yot workers and others using BLAGG!

The cost of the event will be £75 per person (excluding accommodation) and will be held at central Manchester Location. Places will be allocated on a first come first served basis.

At this current moment, I would like to find out if you would like to send anyone and if so whether they would be interested in running a brief presentation on how they are using BLAGG! Also we would welcome any ideas on what participants might hope to gain from such an event.
Please contact me as soon as possible with your responses.

I look forward to hearing from you soon. Do call me at TiPP if you would like further details.
Best wishes,
Kate McCoy
Projects Director
TiPP
t: 0161 275 3047
f: 0161 275 3877

ASHTAR Newsletter
posted on 2003-06-24

This quarter's "Ashtar News" gives a good insight in the projects of this Westbank-based Palestinian company. The editorial "Centre Stage" runs as follows:

In a climate of fear, sadness and pessimism, ASHTAR went back to schools with its "Drama Days at School" project.

The months of September 2002 – May 2003, saw ASHTAR take their project, Drama Days at School, into 50 schools, working with more than 16000 children between the ages of 6 and 18.

The Drama Days project sought to give schoolchildren, an outlet from which to release the damaging emotions that life under, occupation, curfews, closures and poverty have created in them. The project has enabled many children to confront their fears, express themselves freely and has given them the opportunity to let go of some of their anxieties for the first time.

By approaching learning in an entertaining way and acting as an educational support, Drama Days have offered new skills to students and teachers alike, introducing fun and hope into an environment dominated by stress and violence. And by encouraging the use of imagination, improvisation, self-expression and honesty in a group setting, Drama Days have helped to create better communication, improved cooperation and problem solving skills through teamwork.

The Drama Days Project will be continued within schools and ASHTAR plans to spend two days a year in various schools in order to facilitate this.

To subscribe to the Newsletter, contact Ashtar by email:

Ashtar email address

Theatre of the Oppressed Seminar & Marathon in Santo André
posted on 2003-05-14

From October 23-25, 2003, GTO Santo André (Brazil) hosts a variety of TO activities. The program is as follows:

1. Keynote address or workshop by Augusto Boal

2. A debate: Theatre of the Oppressed in public power
Featuring:
a) GTO Santo André:
A Theatre of the Oppressed Group of the Prefecturate of Santo André. It is situated in the Department of the Protection of the Rights of Citizenship of the Secretary of Social Inclusion. From 1997 on, with the assistance of Augusto Boal and the CTO Rio, civil servants were trained as multiplyers of Theatre of the Oppressed. The techniques were applied in a variety of departments for internal use as well as for work with the population. We have a group of civil servants which we call the Mother Group. Apart from performing, its task is to form TO groups of the population. Today we have the following popular groups:
- It Only Depends on Us is a group consisting of young people from 4 different favelas. They also use circus techniques.
- It's Never too Late, a group of elderly people, already existing for five years
- Kizomba is a group from the black community, has members from 16-57 years of age and works on the issue of racism
- A Step towards More is formed by women from the periphery, who work around AIDS
- The Agent of Gold is formed by public health workers from the favela Capuava who discusse issues of health with the population
- Participatory Theatre is formed by members from different groups, discussing participation
- Waves of the Street are the civil servants of the Prefecturate
Apart from these groups we perform a play which deals with the position of women on the labour market.
The group Favela Pintasilgo is currently emerging in the favela with the same name. Juvenile Agent, integrating also young people from different favelas, will stage its first performance in June. The next groups under construction are those of the Municipal Guard, the homeless and people with learning disabilities.

b) Paul Heritage:
Representing an English organisation with a seat in Rio de Janeiro (People's Palace Projects), who works in a project that takes TO to the prisons of six states in Brazil

c) Celso Frateschi, Secretary of Culture of the city of Sao Paulo, who worked as an actor with Augusto Boal and took TO to Sao Paulo. 500 unemployed citizens received a grant to be trained as cultural animators through Theatre of the Oppressed.

3. A round table debate "Dream and Resistance"
At this table people who develop theatre projects as an instrument for social inclusion, urban education and regaining self-esteem. Four experiences from Rio de Janeiro and Sao Paulo will be represented.

4. Second National Festival of Theatre of the Oppressed
The first event took place in 1999. We will bring groups from various parts of Brazil to Santo André, who will perform on different locations in the city, along with our local groups.

5. Encounter of Jokers
Gathering of the Jokers of the participating groups to exchange experiences

6. Reports of Experiences
Professionals who perform theatre with groups of excluded people (e.g. disabled people, homeless people, abused women) share their experiences.

7. Theatre workshops
Short workshops about the use of voice, body languague, circus arts and masks for the members of popular groups who have little opportunity to get in contact with these techniques.

See the website of GTO Santo André for contact information.

GTO Santo André

Yellow Pages Update #7
posted on 2003-05-06

After the latest update, the number of new entries slowed down remarkably. By May 1, 2003, the number of entries had reached 118 in 38 countries. We know there are still many groups and practitioners who are in hiding somewhere in this world. Don't hide! Display yourself on the stage of the Yellow Pages!

Very soon, the next issue of Under Pressure will provide every practitioner of Theatre of the Oppressed with the evidence that TO is a powerful, effective and essentially human tool for change. We invite all those who have not registered yet to join the famous Yellow Pages!

Legislative Theatre in Vancouver
posted on 2003-03-07

A New Way to Practice Democracy

On February 27, 2003 Vancouver City Council unanimously passed their endorsement for and involvement in Headlines Theatre's next Main Stage project: Practicing Democracy. This is an innovative experiment based on the pioneering work of Augusto Boal, who developed legislative theatre as a vehicle for people to communicate with government and articulate potential law.

Here is the plan: Headlines and City Council will come up with a short list of topics that will be relevant to Council in Feb/March of 2004. Headlines will then hold a mini-referendum through the company¹s extensive local networks to determine which two of the short list topics to focus on. Groups of people will be brought together who are living the issues. They will participate in a THEATRE FOR LIVING workshop and rehearsal process to create interactive Forum Theatre plays, which will then tour to community halls in Vancouver.

Working with a lawyer, Headlines will gather and collate the spirit, the actions and desires of the audience interventions in the Forum Theatre events and from these create recommendations for civic legislation on the issues that will go before a vote at Council. In February / March of 2004, Practicing Democracy will launch legislative theatre in Vancouver.

Headlines Theatre

TO-chariot in RIO
posted on 2003-03-05

Rio de Janeiro around midnight March 5 2003. Augusto Boal climb up the six meters high Globe to dance in front of several thousands of excited spectators, along almost one kilometer long Sambódrome, to the glory of Theatre Of the Oppressed !!!!!!!!!!!!!!!!!

This mail reached us today:

Dr. Augusto Boal, dancing samba at the top of the world, yesterday, last Carnival day in Rio de Janeiro, at the Academicians of Barra da Tijuca, whose 1,500 participants danced this year in his honor.

Maria da Graça
Secretária do Centro do
Teatro do Oprimido do Rio de Janeiro
Av. Rio Branco 179 - 6º andar
Centro - Rio de Janeiro - RJ - Brasil
tel.+ fax: 005521 2220 7940 -
E-MAIL: ctorio@domain.com.br
Peace, Not Passivity!
Visite as Páginas Amarelas do Teatro do Oprimido:
http://www.formaat.org/uk/yp/index.php

ITO Declaration of Principles in Croatian
posted on 2003-02-18

Congratulations are coming in from all corners of the world. The ITO looks to be a common desire of many Theatre of the Oppressed practitioners. The Declaration of Principles was translated into Croatian by Aleksandar Bančić. We are grateful to him and we hope that others will follow his example.

Međunarodna organizacija Kazališta potlačenih (MOKaP)
Deklaracija o načelima

Uvod
1. Osnovni cilj Kazališta potlačenih je humanizacija čovječanstva.
2. Kazalište potlačenih je sistem vježbi, igara i tehnika koje se temelje na Esencijalnom kazalištu, a da bi pomogli muškarcima i ženama da razviju ono što već imaju u sebi: kazalište.

Esencijalno kazalište

3. Svako ljudsko biće je kazalište!
4. Kazalište je definirano kao simultano postojanje – u istom prostoru i kontekstu – glumaca i gledatelja. Svako ljudsko biće je sposobno vidjeti situaciju i vidjeti sebe u situaciji.
5. Esencijalno se kazalište sastoji od tri elementa: subjektivno kazalište, objektivno kazalište i kazališni jezik.
6. Svako ljudsko biće je sposobno glumiti: kako bismo preživjeli, moramo proizvesti djela i promatrati ta ista djela i njihove efekte na okolinu. Biti human jest biti kazalište: supostojanje glumca i gledatelja u istoj osobi. To je subjektivno kazalište.
7. Kada se ljudsko biće ograničava na promatranje objekta, osobe ili prostora, privremeno odustajući od svoje sposobnosti i potrebe da glumi, energija i njihova želja za glumom premješta se na to mjesto, osobu ili objekt, stvarajući prostor unutar prostora: estetski prostor. To je objektivno kazalište.
8. Sva ljudska bića upotrebljavaju, u svom životu, isti jezik kojim se koriste glumci na sceni: svoj glas, svoja tijela, svoje pokrete i svoju ekspresiju; prevode svoje osjećaje i želje u kazališni jezik.

Kazalište potlačenih

9. Kazalište potlačenih svakome nudi estetska sredstva da analizira svoju prošlost u kontekstu svoje sadašnjosti i naposljetku smisli svoju budućnost, a da ne čeka na nju. Kazalište potlačenih pomaže ljudskim bićima da povrate jezik kojeg svi posjeduju – učimo kako živjeti u društvu igrajući kazalište. Učimo kako osjećati osjećajući, kako misliti misleći, kako djelovati djelujući. Kazalište potlačenih jest pokus za stvarnost.
10. Potlačene su one osobe ili grupe koji su socijalno, kulturno, politički, ekonomski, rasno, seksualno, ili na bilo koji drugi način zakinuti za pravo na dijalog ili im je na neki drugi način smanjeno to pravo.
11. Dijalog je definiran kao slobodna razmjena s drugima, kao osoba ili kao grupa; sudjelovati u ljudskom društvu jednakih, poštivati različitosti i biti poštivan.
12. Kazalište potlačenih temelji se na principu da bi svi ljudski odnosi trebali biti dijaloške prirode: između muškaraca i žena, rasa, obitelji, grupa i nacija, dijalog mora prevagnuti. U stvarnosti, svi dijalozi teže ka tome da postaju monolozi, koji proizvode odnos tlačitelji – potlačeni. Priznavajući takvu stvarnost, glavni princip Kazališta potlačenih jest da pomogne povratak dijaloga među ljudskim bićima.

Principi i ciljevi

13. Kazalište potlačenih je svjetski ne-nasilan estetski pokret koji traži mir, a ne pasivnost.
14. Kazalište potlačenih pokušava aktivirati ljude u humani pokušaj izražen u samom nazivu: kazalište potlačenih, kazalište koje rade potlačeni, kazalište za potlačene. Sustav koji omogućava ljudima da djeluju u fikciji kazališta, da postanu protagonisti tj. djelujući subjekti, svojih vlastitih života.
15. Kazalište potlačenih nije ni ideologija ni politička stranka, nije dogmatsko ili prisilno kazalište i poštuje sve kulture. To je metoda analize i instrument za razvijanje sretnijeg društva. Zbog svoje humane i demokratske prirode, upotrebljavana je širom svijeta, u svim poljima društvene aktivnosti kao što su: edukacija, kultura, umjetnost, politika, socijalni rad, psihoterapija, program opismenjivanja i zdravstvo.
16. Kazalište potlačenih je sada upotrebljavano u oko pola zemalja svijeta kao oruđe za istraživanje sebe i drugoga, razjašnjavanje i izražavanje svojih želja; oruđe za promjenu stanja koja proizvode nesreću i bol, te pojačavanje onoga što donosi mir; za poštivanje različitosti između osoba i grupa i za uvođenje svih ljudskih bića u dijalog; i napokon, kao oruđe za postizanje ekonomske i socijalne pravde, što su temelji prave demokracije. Da zaključimo, glavni cilj Kazališta potlačenih jest razvoj primarnih ljudskih prava.

Međunarodna organizacija Kazališta potlačenih (MOKaP)

17. MOKaP je organizacija koja koordinira i pojačava razvoj Kazališta potlačenih diljem svijeta, prema principima i ciljevima ove Deklaracije.
18. MOKaP to čini povezujući praktičare Kazališta potlačenih u svjetsku mrežu, potpomažući razmjenu i metodički razvoj, olakšavajući trening i multiplicirajući postojeće tehnike, započinjući projekte na globalnoj razini, stimulirajući formiranja lokalnih Centara Kazališta potlačenih (CeKaP-a), promovirajući i kreirajući povoljne situacije za rad CeKaP-a i praktičara, te stvarajući međunarodno sastajalište na Internetu.
19. MOKaP je od iste humanističke i demokratske prirode kao i njegovi principi i ciljevi; uključivat će sve doprinose onih koji rade prema ovoj Deklaraciji o načelima.
20. MOKaP će pretpostaviti da svi koji upotrebljavaju razne tehnike Kazališta potlačenih potpisuju ovu Deklaraciju o načelima.

The ITO has landed
posted on 2003-02-12

As of now, the world has a new international organisation, the International Theatre of the Oppressed Organisation, or ITO. In the following weeks and months, these pages will keep you up on the latest developments. To learn more and to read the ITO Declaration of Principles in English, please review the latest issue of Under Pressure.

For your convenience, the Declaration of Principles is shown here in four other languages.

We will continue to work united now in the conviction that together we can generate real change in this troubled world.

ITO-Grundsatzerklärung
posted on 2003-02-11

Vorwort

1. Das Grundziel des Theater der Unterdrückten ist die Humanisierung der Menschheit.
2. Das Theater der Unterdrückten ist ein System von Übungen, Spielen und Techniken, basiert auf das essentiellen Theater, um Männer und Frauen zur Entwicklung dessen zu befähigen, was sie bereits inne haben: Theater.

Essentielles Theater

3. Jeder Mensch ist Theater!
4. Theater definiert sich als die gleichzeitige Existenz – im gleichen Raum und Kontext – von Schauspielern unf Zuschauern. Jeder Mensch ist dazu fähig, die Situation und sich selbst in der Situation wahr zu nehmen.
5. Essentielles Theater besteht aus drei Elementen: Subjektives Theater, Objektives Theater und der Theatralischen Sprache.
6. Jeder Mensch kan schauspielen: um zu überleben, müssen wir notwendigerweise Handlungen ausführen und diese Handlungen und seine Auswirkungen auf die Umwelt beobachten. Menschlich zu sein heisst, Theater zu sein: die Koexistenz von Schauspieler und Zuschauer im gleichen Individuum. Dies ist das Subjektive Theater.
7. Wenn Menschen sich vorübergehend darauf beschränken, ein Objekt, eine Person oder einen Raum zu beobachten, und dabei ihre Handlungsfähigkeit und –notwendigkeit ausser Kraft setzen, wird ihre Energie und ihr Handlungswunsch auf diesen Raum, diese Person oder dieses Objekt übertragen, was einen Raum innerhalb eines Raumes kreiert: ein Ästhetischer Raum. Dies ist das Objektive Theater.
8. Alle Menschen benutzen, in ihrem täglichen Leben, die selbe Sprache, die Schauspieler auf der Bühne benutzen: ihre Stimmen, ihre Körper, ihre Bewegungen und ihre Ausdrucksweisen; sie übersetzen ihre Emotionen und Wünsche in die Theatralische Sprache.

Theater der Unterdrückten

9. Das Theater der Unterdrückten bietet allen Menschen ästhetische Mittel um ihre Vergangenheit, im Kontext ihrer Gegenwart, zu analysieren, und um, unmittelbar anschliessend, ihre Zukunft zu erfinden. Das Theater der Unterdrückten befähigt Menschen dazu, eine Sprache wieder zu erobern, die sie bereits besassen – durch das Theaterspielen lernen wir, in der Gesellschaft zu leben. Wir lernen zu fühlen mit Gefühl; zu denken mit Gedanken, zu handeln durch Schauspielen. Theater der Unterdrückten ist ein Proben für die Realität.
10. Die Unterdrückten sind diejenigen Einzelpersonen oder Gruppen, denen entweder sozial, kulturell, politisch, wirtschaftlich. wegen ihrer Hautfarbe, sexuell oder sonst in irgendeiner Weise ihr Recht auf Dialog vorenthalten wird, oder in irgendeiner Weise in der Umsetzung dieses Rechts beeinträchtigt sind.
11. Dialog wird definiert als der freie Austausch mit anderen, sowohl von Personen als auch von Gruppen; als gleichberechtigtes Teilhaben an der menschlichen Gesellschaft und als das aktive und passive Respektieren von Unterschieden.
12. Das Theater der Unterdrückten basiert auf dem Prinzip, dass jede menschliche Beziehung dialogischer Natur sein sollte: zwischen Männern und Frauen, zwischen Rassen, Familien, Gruppen und Nationen sollte der Dialog die Überhand haben. In der Realität tendieren alle Dialogue dazu, sich in Monologe zu verwandeln, was zur Beziehung Unterdrücker – Unterdrückten führt. Diese Realität anerkennend, ist das Hauptprinzip des Theater der Unterdrückten die Wiederherstellung des Dialogs unter den Menschen.

Grundsätze und Ziele

13. Das Theater der Unterdrückten ist eine weltweite, gewaltlose, ästhetische Bewegung, die sich für einen Frienden ohne Passivität einsetzt.
14. Das Theater der Unterdrückten versucht Menschen zu aktivieren in einem humanistischen Bestreben, dass durch seinen Namen selbst ausgedrückt wird: Theater der, von und für die Unterdrückten. Ein System, das den Menschen die Handlung innerhalb der Fiktion des Theaters ermöglicht, um damit Protagonisten, d.h. handelnde Subjekte, ihrer eigenen Leben zu werden.
15. Das Theater der Unterdrückten ist weder eine Ideologie, noch eine politische Partei, weder dogmatisch noch zwingend, und achtet alle Kulturen. Es ist eine Methode der Analyse und ein Mittel dazu, glücklichere Gesellschaften entstehen zu lassen. Auf Grund seines humanistischen und demokratischen Charakters wird es in aller Welt intensiv eingesetzt, in allen Bereichen sozialer Betätigung, wie: Bildung, Kultur, Kunst, Politik, Sozialarbeit, Psychotherapie, Alfabetisierungsprogrammen und Gesundheitsförderung. In der Anlage zu dieser Grundsatzerklärung ist eine Zahl von Beispielprojekten aufgelistet, die der Erläuterung seiner Natur und des Ausmasses seiner Anwendung dienen.
16. Das Theater der Unterdrückten wird derzeit in etwa der Hälfte aller Länder der Welt, aufgelistet in der Anlage, angewendet, als Instrument für die Erforschung des Selbst und des Anderen, zur Klärung und als Ausdrucksmittel unserer Wünsche; als Instrument für die Veränderung von Umständen, die Unwohlsein und Schmerz verursachen, und für die Förderung von Umständen die Frieden bringen; für das Respektieren von Unterschieden zwischen Individuen und Gruppen und für das Einbeziehen aller Menschen in den Dialog; und schliesslich als Instrument für das Erreichen wirtschaftlicher und sozialer Gerechtigkeit, die die Grundlage wahrhaftiger Demokratie ist.

Die Internationale Theater der Unterdrückten-Organisation (ITO)

17. Die ITO ist eine Organisation die die Entwicklung des Theater der Unterdrückten, gemäss der Grundsätze und Ziele dieser Erklärung, in der ganzen Welt koordiniert und fördert.
18. Die ITO erreicht dies, indem sie die Praktiker des Theater der Unterdrückten durch ein weltweites Netzwerk verbindet, und damit den Austausch und die methodische Entwicklung unterstützt; indem sie die Ausbildung und Multiplizierung der bestehenden Techniken fördert; indem sie Projekte auf Weltebene konzipiert; indem sie die Gründung lokaler Zentren für Theater der Unterdrückten (CTO’s) stimuliert; indem sie die Bedingungen für die Arbeit der CTO’s und der Praktiker fórdert und herstellt, und indem sie einen internationalen Treffpunkt im Internet kreiert.
19. Die ITO ist vom gleichen humanistischen und demokratischen Charakter wie ihre Grundsätze; sie wird jeden Beitrag derer, die mit dieser Grundsatzerklärung arbeiten, integrieren.
20. Die ITO geht davon aus, dass sich jeder, der die verschiedenen Techniken des Theaters der Unterdrückten anwendet, dieser Grundsatzerklärung anschliesst.

ITO - Declaración de Principios
posted on 2003-02-11

Preámbulo

1. El objetivo básico del Teatro del Oprimido es humanizar a la Humanidad
2. El Teatro del Oprimido es un sistema de Ejercicios, Juegos en Técnicas basando en el Teatro Esencial, para ayudar a los hombres y las mujeres a desarollar lo que ya poseen dentro de ellos: teatro.

Teatro Esencial

3. Cada ser humano es teatro!
4. Teatro se define como la existencia simultánea –en el mismo espacio y contexto- de actores y espectatores. Cada ser humano es capaz de observar la situación y de observar a si mismo en la situación.
5. El teatro esencial consiste de tres elementos: Teatro Subjetivo, Teatro Objetivo y el Lenguaje Teátrico.
6. Cada ser humano es capaz de actuar: para sobrevivir, necesariamente tenemos que producir acciones y observar esas acciones y sus efectos a las enmediaciones. Ser Humano significa ser Teatro: la coexistencia del actor y el espectador en el mismo individuo. Esto es el Teatro Subjetivo.
7. Cuando seres humanos se limiten a la observación de un objeto, una persona o un espacio, negando su capacidad y necesidad del actuar, su deseo de actuar se transfiere a aquel espacio o objeto, creando un espacio adentro de un espacio: un Espacio Estético. Esto es el Teatro Objetivo.
8. Todo ser humano usa, en sus vidas cotidianas, el mismo lenguaje que los actores usan en el podio: sus voces, sus cuerpos y sus expresiones; convierten sus emociones y deseos en el Lenguaje Teátrico.

Teatro del Oprimido

9. El Teatro del Oprimido ofrece a cada uno el método estético para analizar su pasado, in el contexto de su presente, y subsequentemente para inventar su futuro, sin retraso. El Teatro del Oprimido ayuda a los seres humanos a recuperar un lenguaje que ya poseen – aprendemos como vivir en la sociedad jugando teatro. Aprendemos como sentir sintiendo; come pensar pensando; como actuar actuando. El Theatro del Oprimido es probar para la realidad.
10. Los oprimidos son tales individuos o grupos que son socialmente, culturalmente, políticamente, por razones de raza o sexualidad, o en cualquier otra manera deprivados de su derecho al Diálogo o en cualquier manera impedidos para ejercer este derecho.
11. Diálogo se define como el intercambio libre con otras personas, tal como individuo y como grupo, la participación en la sociedad humana como igual y el respeto mutuo de diferencias.
12. El Teatro del Oprimido se basea en la premisa que todas las relaciones humanas debiesen ser de un tipo dialógico: entre hombres y mujeres, entre razas, familias, grupos y naciones, el diálogo debiese prevalecer. En realidad, todos los diálogos tienen la tendencia de volverse en monólogos, los cuales crean la relación opresores – oprimidos. Reconociendo esta realidad, el principio principal del Teatro del Oprimido es de ayudar a restaurar el diálogo entre seres humanos.

Principios y Objetivos

13. El Teatro del Oprimido es un movimiento mundial estético nonviolento que busca la paz, no la pasividad.
14. El Teatro del Oprimido trata de activar a la gente en un esfuerzo humanista, expresado por su propio nombre: teatro de, por y para el oprimido. Un sistema que facilita a la gente a actuar en la ficción del teatro para volverse protagonistas, i.e. subjetos activos, de su propia vida.
15. El Teatro del Oprimido es ideología ní partido político, es dogmatico ní compulsivo y es respetuoso hacia todas las culturas. Es un metodo de análisis y una manera para llegar a sociadades más felices. Por su carácter humanista y democático, es usado en todo el mundo en todos los campos de actividades sociales, como: educación, cultura, arte, política, trabajo social, psicoterapia, alfabetización y salud pública. En el anexo de esta Declaración de Principios, un número de proyectos exemplaricos es añadido para ilustrar el carácter y el alcance de su uso.
16. El Teatro del Oprimido es usado momentaneamente en más de setenta naciones alrededor del mundo, enumeradas en el anexo, como instrumento para llegar a descubrimientos sobre uno mismo y sobre el Otro, para clarificar y expresar nuestros deseos; un instrumento para cambiar circunstancias que producen dolor y para realzar las que producen paz; para respetar diferencias entre individuos y grupos y para la inclusión de todos los seres humanos en el Diálogo; y finalmente un instrumento para llegar a la justicia económica y social, la cual es el fundamento de una democracia verdadera. Resumiendo, el objetivo general del Teatro del Oprimido es el desarrollo de Derechos Humanos esenciales.

La Organisacion Internacional del Teatro del Oprimido (ITO)

17. La ITO es una organisación que coordina y realza el desarrollo del Teatro del Oprimido en todo en mundo, según los principios y objetivos de esta declaración.
18. La ITO realiza esto connectando sus practicantes en una red mundial, promoviendo el intercambio y el desarollo metodológico; facilitando la instrucción y la multiplicación de las técnicas existentes; concebiendo proyectos en un nivel mundial, estimulando la creación de Centros del Teatro del Oprimido (CTO’s) en un nivel local; mejorando y creando las condiciones para el trabajo de los CTO’s y los practicantes y creando un encuentro internacional en el internet.
19. La ITO tiendra el mismo carácter humanista y democratico como sus principios y objetivos; incorporará cada contribución de los que trabajan bajo esta declaracion de principios.
20. La ITO supondrá que cualquiera persona usando los varios técnicos del Teatro del Oprimido subscriba esta declaración de principios.

OITO - Declaracion de Principes
posted on 2003-02-11

Préambule

1. Le but principal du Théâtre de l'Opprimé est d'humaniser l'humanité.
2. Le Théâtre de l'Opprimé est un système d¹Exercices, de Jeux et de Techniques basé sur le Théâtre Essentiel, construit pour aider des hommes et des femmes à développer ce qu'ils ont déjà à l'intérieur d¹eux-mêmes : le Théâtre.

Le Théâtre Essentiel

3. Tout être humain est théâtre !
4. Le théâtre est défini par l'existence simultanée - dans le même espace et contexte - des acteurs et des spectateurs. Tout être humain est capable de voir la situation et de se voir soi-même en situation.
5. Le Théâtre Essentiel est composé de trois éléments : le Théâtre Subjectif, le Théâtre Objectif et le Langage Théâtral.
6. Tout être humain est capable de jouer des rôles : pour survivre, nous devons nécessairement produire des actions et observer ces actions et leurs effets dans notre environnement. Être humain c'est être théâtre : la coexistence de l'acteur et du spectateur dans le même individu. C'est le Théâtre subjectif.
7. Quand des êtres humains se limitent à l'observation d'un objet, d'un espace ou d'une personne, renonçant momentanément à leur capacité et à leur besoin d'agir, leur énergie et leur désir d'agir sont transférés sur cet espace, personne ou objet, créant un espace à l'intérieur de l'espace. C'est le Théâtre Objectif.
8. Tous les êtres humains utilisent, dans leurs vies quotidiennes, le même langage que les acteurs utilisent sur scène : leur voix, leur corps, leurs mouvements et leurs expressions ; ils traduisent leurs émotions et désirs dans le Langage Théâtral.

Le Théâtre de l'Opprimé

9. Le Théâtre de l'Opprimé offre à tous les moyens esthétiques d'analyser leur passé dans le présent et en conséquence, d'inventer leur futur, sans l¹attendre. Le Théâtre de l'Opprimé aide les êtres humains à retrouver un langage qu'ils possèdent déjà nous apprenons à vivre en société en jouant au théâtre. Nous apprenons à sentir en sentant ; à penser en pensant ; à agir en agissant. Le Théâtre de l'Opprimé est une répétition pour la réalité.
10. Les opprimés sont les individus ou groupes qui, à cause de la société, de la culture, de la politique, de l'économie, du rapport entre les races ou entre les sexes, ou de toute autre manière, sont privés de leur droit au Dialogue ou, empêchés d'exercer leurs droits.
11. Le dialogue est défini comme la capacité d'échanger librement des points de vue, en tant que personne ou en tant que groupe, de participer à la société en égal, de respecter les différences et d'être respecté.
12. Le Théâtre de l'Opprimé se base sur le principe que toutes les relations humaines devraient être de nature dialogique : entre les hommes et les femmes, les races, à l'intérieur des familles, des groupes et des nations, le dialogue devrait prévaloir. En réalité, tous les dialogues ont la tendance à se transformer en monologue, qui crée la relation opprimé - oppresseur. À partir de cette constatation, le principe essentiel du Théâtre de l'Opprimé est d¹aider à restaurer le dialogue entre les êtres humains.

Principes et objectifs

13. Le Théâtre de l'Opprimé est un mouvement mondial d'esthétique non violent qui cherche la paix, pas la passivité.
14. Le Théâtre de l'Opprimé essaye d'engager les individus dans un effort humaniste dont l'essence est exprimée par son nom même : théâtre de, par et pour l¹opprimé. Un système qui rend les personnes capables d'agir dans la fiction du théâtre afin qu'ils deviennent les protagonistes, les sujets agissants, de leurs propres vies.
15. Le Théâtre de l'Opprimé n¹est ni une idéologie, ni un parti. Il n'est pas dogmatique et est respectueux de toutes les cultures. C'est une méthode d¹analyse et un moyen de développer des sociétés plus heureuses. À cause de sa nature démocratique et humaniste, il est amplement utilisé à travers le monde, dans tous les champs sociaux, tels que : l'éducation, la culture, les arts, la politique, le travail social, la psychothérapie, ainsi que dans les programmes d¹alphabétisation. En annexe de cette Déclaration de Principes, quelques projets exemplaires sont listés pour illustrer la nature et l¹étendue de son utilisation.
16. Le Théâtre de l'Opprimé est de nos jours utilisé dans environ la moitié des pays du monde (la liste est présentée dans les annexes), comme un outil pour faire des découvertes sur soi-même et sur l'Autre, pour clarifier et exprimer nos désirs ; un outil pour changer les circonstances qui produisent le malheur et la douleur et pour promouvoir tout ce qui apporte la paix ; pour respecter les différences entre les individus et les groupes et pour inclure tous les êtres humains dans le Dialogue ; et finalement pour la réalisation de la justice économique et sociale, qui est le fondement de la démocratie véritable. En résumé, l'objectif général du Théâtre de l'Opprimé est le développement des Droits de l'Homme essentiels.

L'Organisation Internationale de Théâtre de l'Opprimé

17. L'OITO est une organisation qui coordonne et soutient activement le développement du Théâtre de l'Opprimé partout dans le monde, en accord avec les principes et objectifs de cette déclaration.
18. L'OITO conduit cette mission en mettant en contact des praticiens de Théâtre de l'Opprimé dans un réseau mondial, en stimulant les échanges et les développements méthodologiques ; en facilitant les formations et la multiplication des techniques existantes ; en concevant des projets à l'échelle planétaire ; en favorisant la création de Centres de Théâtre de l'Opprimé (C.T.O.) locaux ; en créant et en améliorant les conditions de travail pour ces C.T.O. et ces praticiens et en créant un point de rencontre international sur Internet.
19. L'OITO est de la même nature humaniste et démocratique que ses principes et objectifs. Il incorporera toutes les contributions de ceux qui travaillent en suivant cette Déclaration de principes.
20. L OITO présuppose que tous ceux qui utilisent les techniques variées du Théâtre de l¹Opprimé souscrivent à cette Déclaration de Principes.

AITO - DECLARAÇÃO DE PRINCÍPIOS
posted on 2003-02-11

PREÂMBULO

1. O objetivo básico do Teatro do Oprimido é o de Humanizar a Humanidade.
2. O Teatro do Oprimido é um sistema de Exercícios, Jogos e Técnicas Especiais baseadas no Teatro Essencial, que busca ajudar homens e mulheres a desenvolverem o que já trazem em si mesmos: o teatro.
O Teatro Essencial
3. Todo ser humano é teatro!
4. O teatro se define pela existência simultânea – dentro do mesmo espaço e no mesmo contexto – de espectadores e atores. Todo ser humano é capaz de ver a situação e de ver-se, a si mesmo, em situação.
5. O Teatro Essencial consiste em três elementos principais: Teatro Subjetivo, Teatro Objetivo e Linguagem Teatral.
6. Todo ser humano é capaz de atuar: para que sobreviva, deve produzir ações e observar o efeito de suas ações sobre o meio exterior. Ser humano é ser teatro: ator e espectador co-existem no mesmo indivíduo. Esta co-existência é o Teatro Subjetivo.
7. Quando um ser humano se limita a observar uma coisa, pessoa ou espaço, renunciando momentaneamente à sua capacidade e à sua necessidade de produzir ações, a energia e o seu desejo de agir são transferidos para essa coisa, pessoa ou espaço, criando, assim, um espaço dentro do espaço: o Espaço Estético. Este é o Teatro Objetivo.
8. Todos os seres humanos utilizam, na vida diária, a mesma linguagem que os atores usam no palco: suas vozes e seus corpos, movimentos e expressões físicas. Traduzem suas emoções, desejos e idéias em uma Linguagem Teatral.
Teatro do Oprimido

9. O Teatro do Oprimido oferece aos cidadãos os meios estéticos de analisarem seu passado, no contexto do presente, para que possam inventar seu futuro, ao invés de esperar por ele. O Teatro do Oprimido ajuda os seres humanos a recuperarem uma linguagem artística que já possuem, e a aprender a viver em sociedade através do jogo teatral. Aprendemos a sentir, sentindo; a pensar, pensando; a agir, agindo. Teatro do Oprimido é um ensaio para a realidade.
10. Oprimidos são aqueles indivíduos ou grupos que são, social, cultural, política, econômica, racial ou sexualmente despossuídos do seu direito ao Diálogo ou, de qualquer forma, diminuídos no exercício desse direito.
11. Diálogo é definido como o livre intercâmbio com os Outros, individual ou coletivamente; como a livre participação na sociedade humana entre iguais; e pelo respeito às diferenças e pelo direito de ser respeitado.
12. O Teatro do Oprimido se baseia no Princípio de que todas as relações humanas deveriam ser de natureza dialógica: entre homens e mulheres, raças, famílias, grupos e nações, sempre o diálogo deveria prevalecer. Na realidade, os diálogos têm a tendência a se transformarem em monólogos que terminam por criarem a relação Opressores-Oprimidos. Reconhecendo esta realidade, o princípio fundamental do Teatro do Oprimido é o de ajudar e promover a restauração do Diálogo entre os seres humanos.

Princípios e Objetivos

13. O Teatro do Oprimido é um movimento estético mundial, não-violento, que busca a paz, mas não a passividade.
14. O Teatro do Oprimido procura ativar os cidadãos na tarefa humanística expressa pelo seu próprio nome: teatro do, por e para o oprimido. Nele, os cidadãos agem na ficção do teatro para se tornarem, depois, protagonistas de suas próprias vidas
15. O Teatro do Oprimido não é uma ideologia nem um partido político, não é dogmático nem coercitivo, e respeita todas as culturas. É um método de análise, e um meio de tornar as pessoas mais felizes. Por causa da sua natureza humanística e democrática, o TO está sendo amplamente usado em todo o mundo, em todos os campos da atividade social como, por exemplo, na educação, cultura, artes, política, trabalho social, psicoterapias, programas de alfabetização e na saúde. No Anexo desta Declaração de Princípios, alguns projetos exemplares são apresentados para ilustrar a natureza e o escopo deste Método teatral.
16. O Teatro do Oprimido está sendo usado em dezenas de países de todo o mundo, aqui relacionados em Anexos, como um instrumento poderoso para a descoberta de si mesmo e do Outro; para clarificar e expressar os desejos dos seus praticantes; como instrumento para modificar as causas que produzem infelicidade e dor; para desenvolver todas aquelas características que trazem a Paz; para respeitar as diferenças entre indivíduos e grupos; para a inclusão de todos os seres humanos no Diálogo necessário a uma sociedade harmoniosa; finalmente, também está sendo usado como instrumento para a obtenção da justiça econômica e social, que é o fundamento da verdadeira Democracia. Em resumo, o objetivo mais geral do Teatro do Oprimido é o desenvolvimento dos Direitos Humanos essenciais.

A ASSOCIAÇÃO INTERNACIONAL DO TEATRO DO OPRIMIDO (AITO)

17. A AITO é uma organização que coordena e promove o desenvolvimento do Teatro do Oprimido em todo o mundo, de acordo com os princípios e os objetivos desta Declaração.
18. A AITO cumpre este objetivo inter-relacionando os praticantes do Teatro do Oprimido em uma rede mundial, promovendo a troca entre eles, e o seu desenvolvimento metodológico; facilitando o treinamento e a multiplicação das técnicas existentes; concebendo e executando projetos em escala mundial; estimulando a criação local de Centros do Teatro do Oprimido (CTOs); promovendo e criando condições de trabalho para os CTOs e os seus praticantes, e criando um ponto de encontro internacional na Internet.
19. A AITO tem os mesmos princípios e objetivos humanísticos e democráticos do Teatro do Oprimido, e vai incorporar todas as contribuições de todos aqueles que trabalharem dentro desta Declaração de Princípios.
20. A AITO entende que todos aqueles que trabalham usando as várias técnicas do Teatro do Oprimido, subscrevem esta mesma Declaração de Princípios.

Ashtar opens new Abu Shaker tour
posted on 2002-11-27

Next November 30, Ashtar Theatre in Ramallah will open its new Forum: "Abu Shaker - the Instructor", directed by Bárbara Santos. Here's a synopsis of the play:

Instructor “Fouad” is a High School Principal of a renowned school that boasts of a large number of the best youth in the country graduating from it over past decades.

Instructor “Ishaq” - "Abu Shaker" is an Arabic Language and a Physical Training Instructor in the school who was there for the past 30 years.

Instructor "Samir" is a newly appointed social worker in the school that tries to assist the students and improve their condition at school.

In the past few years, the phenomenon of violence at schools increased as a result of the political, economical and social conditions that prevail in the country. In this school violence is practiced in all its forms, be it physical or psychological against students and amongst themselves.

In the midst of this phenomenon, the social worker tries his best to stem violence within the confines of the school and requests the assistance of Principal “Fouad”. The social worker faces a lot of hindrances and opposition, which reduces the importance of his suggestions that call for a change to the better.

Instructor Abu Shaker, who uses the stick a lot, does not see how he would stop using it, as it became an integral part of himself. It is that which maintains his awe and prestige vis a vis the students and provides him control over them.

What could Principal “Fouad” do with regard to all that goes on in the corridors of his school?
How could Instructor “Ishaq” control his students without the use of the stick?
Would the “Social worker” succeed in bringing about the desirable changes?

The former Abu Shaker tours have been very succesfull in all of the West Bank. For an article about the 2001 tour, see the Under Pressure Archives.

Triple Yellow Pages Update #6
posted on 2002-09-30

Three months have passed since we started this scheme; we have received 35 new entries this far. The Yellow Pages total a number of 110 addresses from 35 countries. Many more registrations are in processing right now. This means we have reached more than half of our target already, aiming at 225 entries by March 2003.

This means that the preparations for the creation of an international body of Theatre of the Oppressed continue without hesitation. Watch these pages and especially the next issue of Under Pressure, due by the end of October.

Also we inform you that our Forum is used more and more as a platform for international exchange. Keep on visiting!

Rainbow of Desire Update Presented in Paris
posted on 2002-09-23

Paris, September 18: the CTO Paris was packed as Augusto Boal presented the new and completely updated French editon of 'The Rainbow of Desire'. Boal captivated his audience with some of the key stories in his theatrical development, which can be found in the book. Representatives from various Theatre of the Oppressed companies from all over France attended the gathering.

L'Arc-en-ciel du désir, as the French title goes, is published by La Découverture and goes on sale from September 26 on.

Triple Yellow Pages Update #5
posted on 2002-09-02

We're please to inform you that we have reached the 100 entries mark, and we're still growing. Currently we are trying to connect with a dozen Theatre of the Oppressed groups in Pakistan and we are also awaiting the list of the many Swedish groups.

The Johannesburg summit is showing us that any kind of intervention that takes the desires of the people to the governments and the United Nations is so much needed. Sustainable development will be among the major issues for the coming decades. In order to support those Theatre of the Oppressed groups in developing countries, an international organisation is needed as well. This means we must show up as many as we can.

The Yellow Pages are a form of showing who we are and what we do. We don't collect the addresses out of a hobby, it is a social and political statement, an image of the images. So please keep showing yourselves!

Triple Yellow Pages Update #4
posted on 2002-08-11

We are please to inform you that the number of countries listed in the Yellow Pages is now 35 and the number of entries has reached 96! Who will be the 100th entry? Check the Yellow Pages and send in your information. So watch out for next week's update!

Triple Yellow Pages Update #3
posted on 2002-08-07

A month and a week have passed and the Yellow Pages are still growing. Currently the number of entries has increased to 85, encompassing 35 countries. We are confident to pass the 100 mark within the next 4 weeks. Keep sending in those addresses!

Triple Yellow Pages Update #2
posted on 2002-07-03

Three new groups have been registered on the Yellow Pages since our call for addresses on 1 July: The Turning Point Theatre in UK, Anadolu University in Turkey and CTO Korea in Seoul. We have 78 addresses in 32 countries right now, but we are waiting for more!

Triple Yellow Pages update
posted on 2002-07-02

On the 1st of July Formaat sent an email to about 400 Theatre of the Oppressed contacts asking them to contribute one new address for the Yellow Pages each. With a pocketful of hundreds of groups around the world we would like to take a decisive step towards the founding of an international Theatre of the Oppressed organisation. If you didn't receive the email, check the Yellow Pages. If you are not listed, send us your address plus all other addresses you know. There are thousands of practitioners in more than 50 countries. Let's see if we can reveal them!

Legislative Theatre in Wales
posted on 2002-06-24

Theatr Fforwm Cymru is staging a three-day Legislative Theatre event on the doorstep of the Welsh Assembly starting June 25. For a news update visit the website of the Agora 2002 project.

Human Rights Campaign in Africa
posted on 2002-04-02

Amnesty International is launching its Forum Theatre Campaign for Human Rights, focussing on Women's Rights, next month in Kenya. After a 2-weeks training in Nairobi by members of Amani People's Theatre, campaigners will work with local groups for 3 months to produce Forums. After this pilot, Amnesty will implement this scheme in a number of African countries in the following years.