Invisible Theatre: Liege, Belgium, 1978 Author(s): Augusto Boal and Susana Epstein Source: TDR (1988-), Vol.

34, No. 3 (Autumn, 1990), pp. 24-34 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1146066 . Accessed: 13/07/2013 13:00
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Theatre Invisible
Liege, Belgium, 1978

Boal Augusto

What happened at Liege was an interesting experiencefor me. There were so many subjectsto discuss and delicateproblemsto deal with; so eventstook place thatwe manypeople to talkto and so manyunexpected is about,itslimitations, endedup beingmuch more aware of what theatre and dangers. its functions, in Argentina in 1971. And untiltoday, I began doing "invisibletheatre" I've been to, I have neverparticiso manyyearsand all thecountries after pated in such a richexperienceas the one in Liege, Belgium, in October 1978. I will startat the beginning. Anne Martynowand Bruno Ducoli invitedme to do one of my "theatre in Brussels and thenat Liege. There of the oppressed" workshops first in ages from18 to 50 men and women ranging wereabout 40 participants, Belgium,Morocco, Tunisia,Italy,France,and othercounyearsold, from threedaysis intries.Whatwe usuallydo in theseworkshopsforthefirst about thedifferent house groupexercises, forms of games, and discussions of the oppressed." On the fourth the "theatre do invisday, we normally ible theatrepieces in public places, such as restaurants, supermarkets, and streets, theworktrains, depending upon thechosensubjects.Finally, called "theatreforum" which shop finisheswith a public performance includesspectator participation. threedays in Brussels, thenwe went to Liege and We spent the first one invisible theatre performance. preparedonly It took place in the followingway: and start Ist action: About a dozen actorsgo into a supermarket buying things. 2nd action: Francois,theprotagonist, getsin line withhis shoppingcart. and eggs. Nothingextra,only indispensHe has bread,milk,margarine, lineswaitingfortheir able items.Nine otheractorsget in theneighboring turnto get to the cash register.
The Drama Review34, no. 3 (T127), Fall 199o

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Invisible Theatre25 Before thecashier starts 3rd action: Francois getsto thecashregister. theprices warns herthat he needseverything he's out,Francois checking he doesn't haveenough to payforit. He gotin hiscartbutthat money heis unemployed that andthat hehasspent several hours to explains trying there areapproximately in 6oo,ooo getajob, butsince unemployed people is it difficult to find one. The cashier that his is Belgium very says story noneofherbusiness andthat her for themerchandise that job is to charge that insists hewouldliketopay.He addsthat after all people buy.Francois he couldhavetried to stealwhathe's gotin hiscart buthe wouldrather pay... "Howcome? You've have the justsaidyoudon't money." doitthis "Let's tell me how much what I have inmy cart costs and I'll way: you inthis work as many hours asnecessary to the whole It's supermarket for pay thing. I offer topaywith work instead simple: ofmoney. . ." The cashier, that shecannot becoming angry, explains exchange goods for labor.She canonlyaccept theordinary andpaying. wayofbuying oftheother eachofthem inher/his own 4thaction:Participation actors, role.One amongthem, Francois ofbeing a bum. Anne,accuses "Those who want togeta job always one. It'sonly those who really find .... don't want towork who can't geta job!" "What's job Miss?" your "I work at home. is the Myhusband manager ofa corporation. .. ." "Ah ..." Another actor announces that heis unemployed tooandthat headmires Francois' to admit that he hasno money. He blames theBelgian courage economic for thesituation. itis nottheir fault since system Obviously they to workbutcan'tget arewilling Another actor tells Francois to try jobs. andfind Atthis a discussion about thedifferent ajob inanother city. point, and thecurrent economic takesplace. Belgian"nationalities" problems havemovedto thecheaper northern (Manyindustries partof Belgium, wealth to theFlemish whileimpoverishing thesouthern bringing region "Walloon. French-speaking ") The cashier threatens to callthemanager. Another actor Fransaysthat coisis right sincehe doesn't wantto steal, he onlywants to do thesame elsedoesbutin reverse. thing everybody ... "YouMiss, what doyou do?Youwork atthis cash 8 hours instance, for register a day andbythe end worked are week, ofthe after 40or45hours, having for paid. with the same doyour own inthis same Then, money, you shopping supermarket. It'sperfect. todothe same but the other around. Him,hewants thing way .. ." The cashier does notknowwhatto do and shecallsthemanager. By now all the customers are talking about unemployment, prices,and etc.In so doing, arehelped salaries, solutions, possible they bytheactorswho the ofdiscusjokers "warm-up" public bybringing up newsubjects sionandposing to feed thedebate. questions ofthemanager whointhemeantime 5thaction:Arrival hasalready called thepolice.The manager tries to convince Francois to leavetheline.Francoiscontinues to be extremely never hisvoicewhile polite, raising trying to soundsincere andpersuasive since heis defending a valuable principle. The other customers insist thatFrancois be allowedto express himself. One of theactors to solveFrancois' suggests collecting money problem, butacknowledges thatthisis nota good way to solvetheproblems of wellandin onlya fewminunemployed Belgians. Theydo very 600,000ooo

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AboutBoal
Augusto Boal is a major innovatorof postBrechtianpoliticaltheatre and practice.In this issue we are publishing severaltextsand interviews by, with,and about Boal. Boal was born in Rio in 193I. His father had wantedhim to be a doctor.Whenhe graduated fromtheUniversity of Brazil in 1952, Boal had a degree in chemicalengineering-but he was already taken by theatre.In 1953 he came to New York, ostensiblyto study chemistry at Columbia University.Mostly he attendedthe classes ofJohnGassner,NorrisHoughton,and Maurice Valencyand workedin a small theatre on 46thStreet witha groupof playwrights. The writers had to directtheirown plays-so Boal became a director. to Brazil in 1956 Boal drew notice Returning as directorof the Arena Theatreof Sao Paulo 1. Augusto controversial at Arena included Boal, working wherehe directed plays. His productions in theatre in Rio dejaneiro Of Mice and Men (1956), Zumbi (1964), Tartuffe (1965), The Mandrake in 1952, appears on the set (1966), and theSao Paulo Fair ofOpinion(1968). "I tried to do all I could to and political of hisproduction ofEugene restore action,"Boal says. democracy-by writing, directing, O'Neill's Emperor were not amused. In 1971 the Arena theatre was atJones But the authorities with members After threemonthshe tackedby thugsand Boal was jailed and tortured. ofthecast. wherehe stayeduntil1976. (Photocourtesy ofAugusto was releasedand leftforArgentina Boal did playshe couldn'tdo in Brazil- Torquemada In Argentina Boal) (1971) McDuck (1973). He was also workingin manypartsof and UncleScrooge to develop whatwereto become themethods LatinAmerica,beginning of

around BF 600,which is closetoFF 150.Francois utes his they gather pays the supermarket's bill but to his surprise, and some security manager himwith a wholelineof stophimfrom Theyevenblock guards leaving. carts. want the to arrive before Francois leavesthe They shopping police store. Francois toleaveonemore time buthe can't. Atthis attempts point, alltheactors, those tothe aresupposed to who,according including script, be against take onhisdefense Francois, helped byan overwhelming majorityofrealcustomers. 6thaction: The policearrive. use oftheir Making proverbial politeness, around those who bother maulthose whoarethe them, they push people slowest to follow their andevenmanage toimmobilize Franinstructions, cois.They want toarrest himbuteverybody areon protests loudly. People Francois' side.The policeofficers cannot believe whatthey see. in charge The officer asks the manager, "Is this a thief, yesor no?" to be a witness. The manager, anEverybody saysno andoffers getting insists that Francois be taken to thepolice station. by theminute, grier how doyou want metoarrest this man when hehasn't stolen "Well, anything areall these andwhen there witnesses to in declare his areall ready favor? They

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to diof theoppressed, thetheatre techniques ina theatre involve functioning spectators rectly But the forthe revolution." as a "rehearsal in situation grew worse. Argentina political where he Andin 1976,Boal leftforPortugal at theNational Condirected playsandtaught In 1978the Portuguese of Theatre. servatory to and Boal no the right turned government an offer He accepted feltcomfortable. longer in Paris. to teach theSorbonne from In Parisin 1978-79Boal ran a five-month for20 people. At the end of the workshop a ten-day session-and200 heoffered workshop hisgroup of20 into peoplecame.Boal divided At theendof thetendaysit was smallcadres. thebanner theworkunder to continue decided del'Oprime du Theatre ofthe"Centre Augusto has thecenter Boal." From1979to thepresent beenthehubofBoal's activities. in governments, Boal a change In 1986, after a theatre backto Brazilto develop was invited laterWhenthegovernment2. Thirty-one to reach years poorschoolchildren. designed program in a Boal remains Boal was this leading workshop However, againchanged, program extinguished. in Zurich(1983). (Photocourbased in Rio-though he travels running workshops extensively, their tesy andAfrica. North Boal) Latin ofAugusto America, America, basing Groups Europe, and and Latin America exist onBoal'ssystem activities Europe throughout in theU.S. as well. arenow beginning theatre oftheoppressed information Formore activities, please regarding witha self-addressed sendyourrequests (international envelope stamped Rua Itacuraca to: Augusto Boal, Producoes 85 Cinematograficas, stamp)
apto. 502, Tijuca, Rio de Janeiro-R.J., Brazil. Tel. 00-55-21-2674809

JanCohen-Cruz Richard Schechner tosteal a but hehasn't even tried taken hehasn't that not anything only saying thing!" woman: is a stubborn The manager, however, a public disturbance!" caused arrested man "I want this having for hasbeenhurt ofherstore thenormal is that Herargument functioning thedisturbance, andmoney since shehaslosttime incident during bythis back. customers from is goingto prevent andtheincident coming many Francois is taken to the has fewchoices. in charge The policeofficer theaccusations. and answer his identity to verify Many policestation FranAnneaccompanies to stopthepolicecar,unsuccessfully. try people theintershewants to witness because sheinsists station coisto thepolice rogation. AnnieDeclerck, I musttellyou something At thispoint, important. theatre an invisible Flemish from TV, hadaskedto film piecefora proBothmy oftheoppressed. on meandthetheatre shewas preparing gram inthesupermarket andso everything tothe andI hadagreed project group inside hisshirt. The sound had a microphone Francois hadbeenfilmed. inhis was the fruit he hisequipment hadhidden technician carrying among

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28 Augusto Boal cart. The camera hadhidden thecamera inside a plastic shopping operator which had a small hole the exact size of the lens. Beingvery bag experihe hadno difficulty withhiscamera under his enced, filming everything arm: . .. absolutely Annie wasatmyside close-ups, longshots everything! who was putting withthescriptperson downin writing. Beeverything there was a privileged sideswhich, thetheatre director, actor, spectator, and playwright Fernando from Peixoto,who hadjust arrived Cologne, where he was then in radio. Germany, working Thefact that television wasdocumenting this event addeda newdimensionto this story. Annie andFrancois Thisis whathappened: arrived atthepolicestation in their andcontinued roles.Beingsuchgood actors, couldkeepup they theatre their invisible without howpersonas being suspected. Eventually, thetruth. Besidesdiscovering miFrancois' ever,thepolicediscovered found outthat hehadajob andearned a regular As they crophone, salary. theinvestigation Francois confessed that he was proceeded, finally just invisible theatre. doing in charge The policeofficer couldnotbelieve whathe was hearing. He becameextremely was being upsetbecausehe feltthathis authority In a threatening tonehe said: mocked. doyoumean that theatre??? Youhave created this "What youwere justdoing disturbance because around? Youhave disturbed the only youwere major playing order at the where dotheir without supermarket public people shopping problems, andthis wassimply a show? Fine.The time, youhavetaken up everybody's accuses todisorder andwe,the accuse youofincitement manager police, youof a public without the having performance permission from corresponding authority! Youhave two charges." The interrogation lasted forsixhours. After werereleased, Annie they andFrancois returned to thetheatre where we werewaiting for them. We wereall actually worried me,because very bynow. Especially anyproblemswiththepoliceimmediately remind me ofthearbitrariness ofLatin American police. Oncethey wereback,they toldus what andwe discussed the happened a third goals of whatwe hadjust been through. Somebody proposed We should accuse thepolice, because there isno artistic charge: censorship in Belgium. thepolicehaveno right to censor a theatre Therefore, piece. To demand a permit for an invisible theatre event was equivalent to makthat itsvery theatrical In order form. to conis, destroying ingitvisible, tinueas such,theinvisible theatre has to be a clandestine theatre. If it becomes thespectator takesa passive rolerather thanher/his "visible," much more oneas a true oftheevent. In short, the productive protagonist theatre cannot invisible to thesamerules be subject which limit conventional theatre. To demand authorization means aesthetic research. stopping is no censorship Sincethere inBelgium, anda permit wouldbe a form of to accusethepoliceofharassment. it,we areentitled The situation was already Now it was becoming complicated enough. an absolute mess! But that we decided to rest whilegetting Saturday very excited at thethree legalissues coming up. to Belgianlaw, it is up to theking'sprosecutor to decide According whether willgo to court ornot.I wanted much to go tocourt charges very it wouldhaveoffered because theatre theoccasion ofbeingdefined "leas opposed to "aesthetically," as italways hasbeen.Forevery artist gally" thetheatre is something different. What aboutthe Eachartist can judges? haveherown style, herownview,andherowndefinition ofthetheatre.

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Invisible Theatre29 tobe thesame for Butthe each law,they Therefore, say,ought everybody. would have to come with their own definition of what theatre country up theactor's that is andwhat wouldneed means, is,aesthetics interpretation to be defined Can an aesthetic be defined phenomenon legally. legally? LouisJoinet is the The French said: "Justice science magistrate ofsetting It is wonderful because artis exactly theopposite. precedents." Ifjudgment thelaw, alljudgesshould it. But,whenan creates obeyit andreproduce creates her/his workanother artist must maketheeffort artist of original a different, creative which is totally differequally pieceofwork, creating information from thepastandreproduces ent.Thejudgegathers thepresin information the ent.The artist and creates the future. gathers present an artist used to prosecute Can a judge prosecute an usingthecriteria limits? canthelaw establish artisan? Can heimpose theboundMoreover, creation? aries foraesthetic I don'tknowtheanswers, I posemany But Althoughusually questions. liketo see an opendebate I wouldsincerely on this In passionate subject. ifpossible. court, we rested. on Saturday On Sunday we prepared for the theatre Anyway, butnotfor theunexpected-so we hada fewsurprises in front of forum, Wewereallhappy. I willcontinue Inthe the Frenchmystory. morning hadannounced ourperformance in a supportive television tone. speaking wasfull. There weremany Thetheatre Mostofthem hadtheir foreigners. in order, werealso manyAfrican but there and LatinAmerican papers exileswhosepapers werenotin order. political three theatre forum Our grouphad prepared scenes on racism, unemI remember andwomen's liberation. I wasstanding that ployment, talking a Tunisian who had already to an actor,Raulf, worked withme in an invisible theatre on theParissubway theprevious project year.Brigitte, thegroup from Shehadassisted joinedourconversation. CirqueDivers, I hadconducted me in a workshop in Italy andwanted me to workwith hergroup.We wereall three this whensomebody discussing possibility me andasked: approached "Mr.Augusto Boal?" "Yes." "Police!" me hisID. I was a bitshocked He showed I wouldhavenever because that theBelgian I asked himwhat thought policecouldcomein likethat. he wanted, andhe saidthat I hadto accompany himfor an identification Another officer procedure. plainclothes policeman joinedthefirst along in uniform with a third who hada furiously barking dog. I searched for as many ofID as I couldfind. I through mypockets pieces hadmytwopassports andBrazilian), at (Portuguese myID as a professor La Sorbonne, andevenmyorange card. . . butthe certificate, mybirth did not of them. police accept any Theyinsisted: "Youmust come with ustothe station!" police I started to walk,butRaulfseized mebythearm andcried outthat I was arrested. Therewas confusion. was shouting andpushbeing Everybody The two plainclothes ingwhilethedog kepton barking. policeofficers meintoa me,while Raulf, grabbed helped bysixorseven people, pushed room InBelgium, marked thepolice cannot enter private spaces "Private." without authorization. As Raulf andtheothers werepushing meintothis roomthey werealso pushing thethree outofthetheatre. policemen The first who was themostunpleasant ofthethree, left policeofficer,
US.

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Boal 30 Augusto he was going to getreinforcement. that he left with the However, yelling others. The doorswereclosedandwe quickly into divided several groups who had helped to decidewhatto do. One of thegroups, the organize wasin charge ofprotecting me. I must I felt well workshop, saythat very Thisgroup tookmethrough corridors androoms to an apartprotected. where the could not ment come Once we were property police in). (private themedia,thelocal there, got on thephoneand informed my friends andevena lawyer abouttheincident. authorities, The lawyer arrived and considered I was in Belgium mypredicament: the behavior was abusive. It was Consequently, police legally. completely decided that we should The lawyer calledthepolice.The officer protest. who answered hiscallwas perplexed. "We havenotordered thearrest It must havebeen the'gendarofanyone. merie'." The lawyer calledthegendarmerie. "No one the hasleft ourheadquarters toarrest It from gendarmerie anybody. must havebeen the'antigang brigade'." In fact, we lookedthrough thewindowand saw three carsfrom the around thetheatre. Thelawyer called thebrigade antigang brigade driving headquarters: bea mistake. No order hasbeen issued us... ." "No,Miss.Itmust ofarrest by but I'm at "Excuse cars around ourbuilding me, looking three brigade going now right .. " "It's true. There aremany cars in that itis an areaof because ofour vicinity Thisis the reason. ButI repeat: wehave not issued foreigners. only illegal any orders ofarrest. .. ." We wereconfused: how comeall three localforces of repression-the andtheantigang police,thegendarmerie, brigade-denied anyparticipathefacts tion? remained: twopolice officers dressed as civilians However, oneinhisuniform hadharassed to that us,inaddition plusanother bloody never dog which stopped barking! Thelawyer asked mewhether I hadreadthepolice ID carefully. officer's I admitted I hadn't: that I amshortsighted. Thenwe embarrassed, Slightly started to doubttheauthenticity ofthepoliceofficers, because there were three when therule inBelgium is for routine policemen onlytwoto cover was in a proper uniform. As we were Also,onlyoneofthem procedures. aboutdetails, elseappeared thinking something suspicious: police dogsare to intimidate trained theone they with usually people.Instead, brought them seemed tobe scared ofus. Conclusion: itwasn't a police dog. Second conclusion: thepoliceofficers werefictitious. Thirdconclusion (which later tobe wrong): itwas evidently a rightist whowanted to proved group on us. putpressure We decided that there was only onesolution: ifthepolice hadnottaken in these what we had to do was to call the Infact, events, part police! given thatthepolicewerenotresponsible forwhathad happened, we wanted themto be responsible forwhatcouldhavehappened. The lawyer imcalledall three the and,in less thantenminutes, mediately policeunits entire was overflowing withuniforms. neighborhood there was great in thetheatre. excitement Meanwhile, Peopleweredisandinventing Itwasnormal solutions, cussing, proposing interpretations. for them tobe nervous. was probably themost nervous ofall. She Brigitte was so nervous that Raulf was somewhat concerned aboutherandstarted to askherquestions. confessed that theactors from the Finally, Brigitte to mount an invisible theatre CirqueDivershad decided piece.A piece

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Invisible Theatre31 I us!!!Allthree andthedogbelonged tothegroup. There policemen against ofthegroup twomembers intheauditorium wereanother whoconfirmed one ofthem had videotaped theincident. Moreover, story. Brigitte's to what had Itwasn't totheaudience. But,before easy explain happened we decided to the three actors from anything, protect explaining Cirque Divers.We tookthem to a different room.The public wasindeed furious wasvery understandable. Thisscene which hadbeengoing on for anhour anda half after all. During this lotsofimmigrants andrefugees who time, hadbeenputthrough hell.Andall forwhat? werepresent mainanswers we obtained Thesearethethree from theCirqueDivers whenwe questioned them: actors trust "Wedonot anylonger!" people toexperiment with "Wewanted invisible theatre techniques." that act "Wewanted todemonstrate toPavlovian that people according reflexes, inany circumstance!" is,conditioned reflexes given Theyalso askedforhelp: usgetout "Youmust theatre because the audience andwe ofthe help isffurious need your protection." to getoutofthetheatre. We didhelpthem EmileCopferAfterwards, mancriticized us for usedsuchpaternalism. Inhisopinion, this was having onourpart: a mistake wanted to it was to them to run all "Ifthey experiment, up intheir risks inherent adventure." the also cameup withan interesting oftheexperiCopferman explanation ence:theCirqueDiversactors wanted to usethetheatre oftheoppressed, which threatened me.Theywerefeeling atstake as them, actually against or as peoplesomehow overloaded withan "exceptional" rolein artists, oftheoppressed The theatre theopposite: artistic society. proves exactly creationis inherent to all human beings. All peopleare capableof what oneperson is capable ofdoing. Ifa person is abletosing, doing paint, all peoplecando thesame. swim,or perform, This simpletruth is often scaryto thosewho believethattheyare because are"artists." Realartists arenotafraid offacing the they superior truth. true do nothesitate to share their Moreover, artists, art, being they andknowledge with their Therealmagimethods, techniques, spectators. cianis not afraid of showing his tricks. The realartist is not afraid of allpeople that areartists. Thisdoesnotstopsomepeople from recognizing themselves to artas a "profession," it is important to devoting although that has an artistic vocation. acknowledge everybody I havespent a great dealofmylife andapplying these ideas.The teaching had simply usedthem me to protect themCirqueDiversactors against selves. Another member of the groupadded a supplementary hypothesis: In fact, theCirqueDivers hadalsoinvited metoruna workshop jealousy. andaccepted butI hadrefused an invitation to conduct a workshop with their rivals.Whatdid theCirqueDiverspeopledo then? Theybecame stars thetheatre forum that we had overnight bydestroying performance prepared. Theytookoverourevent. Butin addition to becoming stars andusing invisible theatre overnight a largeaudience from me, they actechniques against prevented getting withother oftheoppressed theatre quainted techniques. Theseweresomeofourgroup's ideasandconclusions, after thefact. At theCirqueDivers on thenight tookplace, howheadquarters, everything we wanted to be very clearaboutourstand andmotivations. ever, In thefirst to accept their "Wedon't believe in place,it was too difficult

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Boal 32 Augusto I was madandtoldthem that thelasttime I hadheard anylonger!" people that kindof statement I was 15 and theperson who had saidit was 12. Adolescence sucha difficult statement was understandable age,this being butthefact that adult artists couldcomeup with sucha lineseemed then, to me a fascistic conscious or not. "We do nottrust humankind attitude, wecan doanything wewant it."Thatis,a bunch ofactors can therefore against taketheliberty of abusing an audience withtheexcusethat do not they believe inpeople. Butifpeople believe inthem andrequest our rebel, they protection. ... As forthesecondsubject, I think it is necessary to understand it well: does not exist in the same sense that mathematics pure technique pure does. Two plustwo is four, of thequestion. But theatre does regardless not struggle curvedlines,angles,numbers, or figures; theatre against withtheunexpected one wishes to knowandit struggles with struggles And cannot be added in a or abstract manner. people. people pure A person canequala thousand orzero.Inhuman twoplus terms, adding twois unpredictable. canhappen andalready has. Anything It is useful to remember a fewthings thetheory ofinvisible regarding theatre. I didnotinvent invisible theatre. I didnotwakeup one morning a goodidea.Rudimentary with forms ofinvisible or partial invistheatre, have alwaysexisted. ible theatre In espionage, forinstance, techniques such as camouflage, of roles,and spies use techniques interpretation simulated realities-which areallinvisible theatre Evenin the techniques. where we invisible there are"invistheatre, supermarkets, regularly play iblepolice,"that andmenwho complement theclosed-circuit is, women ofdiscouraging TV's function anddetecting In theLiegecase, shoplifting. we triedto use the principal action(Francois) and the parallel dialogs to explain therelationship between andthe (actors/jokers) unemployment to whichemployees submit themselves exploitation (ifnobody accepted there wouldbe enough exploitation, jobs foreverybody). THE INVISIBLE THEATRE never in an illegal placesitself position becauseit does not intend to violate thelaw. It intends to question the ofthelaw, which is a very different matter legitimacy altogether. I'll explain Ifwe wanted to break thelaw, itwouldhavebeen myself: wouldhavedistracted very easyforus to plana scenethat peoplein the so we could steal we wanted. this supermarket anything Quitefrankly, add a "shoplifting" happens every day,whichis whymanystores premium to thecostoftheir losses. goodsto covertheir As I said,we wanted toquestion thelegitimacy ofthelaw. Because laws canbe written I can make byanybody, myownlawstoo. Laws areonly however, promulgated, by thosewho have thepowerto makethem. is eagerto legalize theillegal actthat them to Every dictatorship brought a law promulgated hasno validity. No power.Therefore, bythemilitary law is validunless ithasthesupport ofthepeopleto which itwillapply. This is precisely theimportance of theinvisible theatre (and of other theatre ofthe thedifference between theconcepts of oppressed techniques): andlegitimacy. legality Mostoppression exists In many countries womencannot vote legally. areunderpaid. In other do not yet.In manycountries, they places, they haveaccessto certain In mostcases,womenarestill to positions. subject maleauthority either or subtly, or socially. And openly psychologically is being doneinthenameofthelaw. However, a law which is everything on half ofhumankind cannot be legitimate since itdoesnothave imposed theconsensus ofitsvictims, that is, women.

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Invisible Theatre33 lawsandcustoms that The samewayonecanquestion women, oppress all oppressive laws and customs, one can dispute of their vicregardless etc. tims: workers, blacks, peasants, immigrants, I wantto clarify once and forall thatthe theatreof the oppressed are meantto help the oppressed;theyare actuallytheir techniques weapons of liberation. Goingback to the Liege case, the CirqueDiversactors, apartfrom committed an the existing oppression, doubling already illegalact by whichmadethem to a newcharge, the policeuniforms subject wearing one in thiscrazy fourth story. in a policeman's An actor dressed uniform! One canwonder: Butisn't in what the theatre? Isn't it true that one this simualways happens person another? One canalsoargue ifthespectator lates knows that theactor that, butifthespectator is playing a role,it's fine, does notknowthat sheis andbelieves withan actor herself to be in thepresence ofa "real dealing Is it ethically is thiscorrect? to borrow else's right person," somebody it and use abusively? identity I wantreaders to allow me to makea leap in timeand space.It was or March1978in Bari,a southern Italian We madean invisJanuary city. A youngactor(clearly scene.It wentlikethis: ibletheatre sat Brazilian) and started to talk downin a public into his minicassette recorder. garden He saidlotsofupsetting things: "I ambymyself!" "I ambymyself!") (The cassette repeated: "I don'thaveanyfriends" "I don't haveany (The cassette repeated: friends.") wants totalk tomebecause I amaforeigner andinthis andin "Nobody country there is discrimination." this to hisown voicein the city Again,he listened The casualpassersby recorder. couldheartherecording. Some of them to listen. evenstopped "I amunemployed." "I amunemployed." "I tried tokillmyself but I didnot have I putthe yesterday, enough courage. but I still have all the bottle I'll doit.Maybe I'll away, pills.Maybe today today killmyself ..." The taperecorder he was saying. repeated everything Peoplewereaphimwithout what to say.Someofthem offered comknowing proaching etc. fort, sympathy, help,their friendship, support, understanding, It was a sceneof raretenderness, almost an intimate scenedespite its withcrowds, cars,andnoise. setting public The groupwas shattered andsomebody Is it brought up thequestion: correct what we havedone? Because what theactor morally quite frankly, wassaying wasn't true. Our Brazilian hada goodjob, wasmarried . .. the of thecharacter he was impersonating. it opposite Consequently, wasn't true? I kept on asking Itwasn't this wasn't ittrue? myself question. Why truth? The fact that Which theactor who plays Othello doesnot"really" Desdemona does notmakeit lesstrue thatOthellokillshisdestrangle fenseless wife.What truth arewe referring to? was thattheBrazilian The truth actorwas not suffering any of the tortures that hewas describing. Butitwastrue that those tortures existed. Ifitwasn't true that hehimself hadattempted itwas certainly true suicide, that another a fewmonths earlier hadactually killed emigre himself. So although theBrazilian actor's wasn't itwas truth. true, story strictly it was nota synchronic it was still a truth. It was in truth, Although
true.

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Boal 34 Augusto andnow,butitwas here a diachronic truth. Thiswasnothappening fact time. at a different elsewhere happening beenaccused We hadnotliedat Liege,in spiteofhaving bythepolice had a goodjob and was not unemthatFrancois after theydiscovered theactor wasthe Itwasnottrue that character butitwas orhungry. ployed existed! And their were indeed real both true that problems. problems they actor inBelgium, the described is unemployment There it,andthe waythe in ourpiecearetherealcausesofunemployment in Belcauseswe aired was true. everything gium.Consequently, at Liegewerevery For me,the"invisible meetings" important. They that hadbeenvery ofa practice on theethics andaesthetic intense touched the 1970S.We had theopportunity forall of us during to reflect upon ofthis thanks to theLiegeevents, andthese certain reflecpractice aspects that we were to us that we wereright, confirmed what we had tions doing ourbeing"exceptional" andhelping to do. As artists, the by abdicating free themselves from at leasttheir first spectators oppression: oppressed willbe qualified ofbeing that By becoming protagonists, spectators. they oftheoppressed toolsinorder to make itwhat itshould to usethetheatre ofliberation. be, a theatre Translated the French from bySusana Epstein the in du Bulletin theatre de no.5, 1981. published Originally l'opprime,

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