REBOOT THE ROOTS PRESENTS:

forum theatre training manual

contents
OVERVIEW
WhatIsTheatreOfTheOppressed?
WhatIsForumTheatre?
THESTRUCTURE
PreparingTheForum
DesigningAForum
RehearsingAForum
ThePerformance
Forum
Evaluation
THEJOKER
WhoIsTheJoker?
ExamplesofQuestions
APPENDICES
A:ExamplesofGames
B:ExamplesofForumTheatre

Overview

what is theatre of the oppressed?

DeclarationofprinciplesoftheTheatreoftheOppressed.
1. The basic aim of the Theatre of the Oppressed is to humanize Humanity.
2. The Theatre of the Oppressed is a system of Exercises, Games and Techniques based on the
Essential Theatre , to help men and women to develop what they already have inside themselves:
theatre.

Essential Theatre
3. Every human being is theatre!
4. Theatre is defined as the simultaneous existence in the same space and context of actors
and spectators.Every human being is capable of seeing the situation and seeing him/herself in the
situation.
5. Essential theatre consists of three elements: Subjective Theatre, Objective Theatre and the
Theatrical Language
6. Every human being is capable of acting: to survive, we necessarily have to produce actions and
observe those actions and their effects on the environment. To be Human is to be Theatre: the coexistence of actor and spectator in the same individual. This is the Subjective Theatre.
7. When human beings limit themselves to observing an object, a person or a space, renouncing
momentarily to their capacity and necessity of acting, the energy and their desire to act is
transferred to that space, person or object, creating a space inside a space: an Aesthetic Space. This
is the Objective Theatre.
8. All human beings use, in their daily lives, the same language that actors use on the stage: their
voices, their bodies, their movements and their expressions; they translate their emotions and
desires into the Theatrical Language.

Theatre of the Oppressed

9. The Theatre of the Oppressed offers everyone the aesthetic means to analyze their past, in the
context of their present, and subsequently to invent their future, without waiting for it. The Theatre
of the Oppressed helps human beings to recover a language they already possess we learn how to
live in society by playing theatre. We learn how to feel by feeling; how to think by thinking; how to
act by acting. Theatre of the Oppressed is rehearsal for reality.
10. The oppressed are those individuals or groups who are socially, culturally, politically,
economically, racially, sexually, or in any other way deprived of their right to Dialogue or in any
way impaired to exercise this right.
11. Dialogue is defined as to freely exchange with others, as a person and as a group, to participate
in human society as equal, to respect differences and to be respected.
12. The Theatre of the Oppressed is based upon the principle that all human relationships should be
of a dialogic nature: among men and women, races, families, groups and nations, dialogue should
prevail. In reality, all dialogues have the tendency to become monologues, which creates the
relationship oppressors oppressed. Acknowledging this reality, the main principle of Theatre of
the Oppressed is to help restore dialogue among human beings.

Principles and Objectives

13. The Theatre of the Oppressed is a worldwide non-violent aesthetic movement which seeks
peace, not passivity.
14. The Theatre of the Oppressed tries to activate people in a humanistic endeavor expressed by its
very name: theatre of, by, and for the oppressed. A system that enables people to act in the fiction of
theatre to become protagonists, i.e. acting subjects, of their own lives.
15. The Theatre of the Oppressed is neither an ideology nor a political party, neither dogmatic nor
coercive and is respectful of all cultures. It is a method of analysis and a means to develop happier
societies. Because of its humanistic and democratic nature, it is widely used all over the world, in
all fields of social activities such as: education, culture, arts, politics, social work, psychotherapy,
literacy programs and health. In the annex to this Declaration of Principles, a number of exemplary
projects are listed to illustrate the nature and the scope of its use.
16. Theatre of the Oppressedis now being used in approx. half the nations around the world, listed
in the annex, as a tool for the making of discoveries about oneself and about the Other, of clarifying
and expressing our desires; a tool for the changing of circumstances which produce unhappiness
and pain and for the enhancement of what brings peace; for respecting differences between
individuals and groups and for the inclusion of all human beings in Dialogue; and finally a tool for
the achievement of economical and social justice, which is the foundation of true democracy.
Summarizing, the general objective of the Theatre of the Oppressed is the development of essential
Human Rights.

what is forum theatre?

Forum theatre is one tool of the Theatre of the Oppressed for enabling people to change their
world.
The objective of forum theatre is to transform passive spectators into active spect-actors through the
presentation of a piece of theatre where a protagonist experiences an oppression a situation where
they fail to achieve what they want, or are prevented from doing so by the antagonists.
Firstly, actors present an anti-model: a short play where the protagonist tries and fails to solve their
problem or break their oppression.
Next, the Joker explains that the model will be replayed, but this time whenever the audience sees a
moment the protagonist can act differently, they can shout out 'stop!'
Once the audience member shouts stop, they are invited onstage to replace the protagonist and
improvise their solution to the problem becoming spect-actors. Meanwhile, the antagonists will
attempt to test the strategy by continuing to try to prevent the protagonist from getting what they
want. The solutions must be real and at any point spec-actors can be accused of using 'magic!'
The Joker then asks the audience what they think of the solution, and if there is any other potential
solution. The game continues until the oppression is broken!

WhendoesasessionofTheTheatreoftheOppressedend?Neversince
theobjectiveisnottocloseacycle,togenerateacatharsis,ortoenda
development.Onthecontrary,itsobjectiveistoencourageautonomous
activity,tosetaprocessinmotion,tostimulatetransformativecreativity,
tochangespectatorsintoprotagonists.Anditispreciselyforthesereasons
thattheTheatreoftheOppressedshouldbetheinitiatorofchangesthe
culminationofwhichisnottheaestheticphenomenonbutreallife.
AugustoBoal

THE STRUCTURE

Wouldntitbewonderfultoseeadancepiecewherethedancersdancedinthe
firstactandinthesecondshowedtheaudiencehowtodance?Wouldntitbe
wonderfultoseeamusicalwhereinthefirstacttheactorssangandinthe
secondweallsangtogether?...Thisis...howartistsshouldbeweshouldbe
creatorsandalsoteachthepublichowtobecreators,howtomakeart,so
thatwemayallusethatarttogether.AugustoBoal

PREPARING THE FORUM

The above diagram demonstrates the multitude of sources of information for preparing your forum
theatre!
When preparing to use forum theatre as a tool for generating dialogue and action within
communities, there are several key questions your group should be asking itself.
What is the oppression/problem/issue that we wish to dialogue and find solutions for?
Who will be involved in the performance? Staff members? Community members?
How can we represent the problem theatrically?
Is the issue relevant to the target audience?
Are there broader social issues connected to the topic we wish to discuss?
What strategies do we need to implement in terms of aftercare and documentation?

DESIGNING THE FORUM

IMAGE THEATRE
FORUM THEATRE WORKS BEST WHEN IT IS BASED ON A REAL OPPRESSION.
Once you have decided the issue or oppression you wish to discuss, you need to develop it into a
piece of theatre. A powerful technique to do this is through the use of IMAGE THEATRE.
First, the group creates a frozen image of the MOMENT OF OPPRESSION. This should show
visually the problem faced by the protagonist, the oppressions of the antagonist, and the power
relationships between them. This image can then have sound and movement added to give more
information.
Next, the group creates an image of the moment JUST BEFORE the oppression. This should give
more information on characters, their desires, and their motivations building up to the oppression.
Finally, the opening image. Here we should see how the story begins, and how the relationships
have changed in the proceeding scenes.
It is important that each character is DIFFERENT from the others, that they are REAL, and that
the protagonist TRIES AND FAILS to solve their problem.
These images form the skeleton of your play: the BEGINNING, MIDDLE and END.
Now, you develop them into DYNAMISED IMAGES through IMPROVISATION.

Four very simple demonstrations of embryos of Forum Theatre pieces, based on projected
images:
These are short scenes which mostly contain all the essential elements of any Forum Theatre piece,
in a very boiled-down and simplified form. They are especially useful for teaching the mechanics of
the game quickly to a new group.
The handshake
A young woman is happily moving towards a man who is offering her his hand to shake. When she
gets to him, he turns his back on her. In this five-second scene there are the following elements of
Forum Theatre: a protagonist (the girl she has a wish, a will, and tries to exercise it); an
antagonist, the man; a counter-preparation she goes happily towards him believing she is going to
fulfil her immediate desire to shake hands; what can she do now) at this moment there is both
danger and opportunity. And finally the defeat she loses, offering the spect-actors every
opportunity to replace her and show their solutions.
Four people walking, the fifth person dancing
Four people are walking in step, almost in a military manner; a fifth person prefers to waltz. The
four people throw her to the ground. She stands up again, repentant, and joins in with the others.
Now five people are marching. What does this say to you? Project whatever you want on to this
dynamic image and try to avoid joining in with the four. What would you do in the protagonists
place? Fifteen, twenty answers may emerge, maybe even more. And that is precisely the objective
of Theatre of the Oppressed: to show that there are always ways of breaking oppressions, in all
situations.
Bigger and bigger obstacles
Three obstacles: a chair lying on the floor, a chair standing upright, three chairs on top of each
other. Three actors at the far end, watching. The protagonist looks at the first obstacle. A man helps
him to surmount it. The protagonist looks at the second obstacle. The man comes and helps him
surmount it. The protagonist looks at the third obstacle; the man comes and urges him to sort this
one out on his own. The protagonist is disappointed he could have got over the first two obstacles
(for which he had assistance), but not the third, for which he has no assistance. What would you do
in his place?
Its too late
Three tables: one close to the protagonist, one halfway across the room, the other far away. The
protagonist runs quickly over to the far table. A person seated behind the table stands up, saying:
Its too late. The protagonist goes back to the start, a little saddened, and starts out again, less fast
this time, in the direction of the middle table, the seated occupant of which stands and says: Its too
late. Completely demoralised, the protagonist goes back to the start and, this time walking rather
than running, she slowly goes over to the most accessible table, the nearest one. However, when she
finally gets there, the person there draws himself up and says the same thing: Its too late. What
would you do in her place? In this technique it is particularly important not to explain what the
image means. It means exactly what it says to each individual and each individual will project on
to it what she feels and, in participating, will break her own oppression. The image is no more than
an empty structure which one fills according to ones own personal life and experiences.

rehearsing the
forum
During rehearsals for your performance, you are checking
your design and also examining the following elements.
The objective is to persuade the audience to take action.
In order to do this, they must recognise and identify with
the world you are creating for them. This is done through
the techniques of theatre.
Image
Theatre is primarily VISUAL. We understand relationships visually, as well as characters and
personalities. Examine the images you are creating. Do they represent the relationships, the
characters, even the oppression you are discussing in enough detail? Even the smallest change
who is looking at who, a finger or a fist can radically alter the story!
Movement & Gesture
We can create different characters and locations just through the movements we make with our
bodies. Policemen walk differently from criminals, old people sit differently from young people!
The images will develop naturally into a certain way of moving, but it is important to follow that
development and keep it real, not just a symbol. Think about how hard it is to chop down a tree, or
the detail of how we brush our teeth! The more accurate the gesture, the more delighted the
audience! Use your bodies to express your characters!
Sound
Sound effects also bring locations and actions to life, as do the inclusion of songs, monologues,
poems, passionate arguments, jokes, tears. We can create a jungle with just our voices, we can
create a riot just through sound. Be sure to pay attention to this powerful technique.
Character
Who is your character? What is their desire? What are their dreams? Are they having a good or a
bad day? What is their relationship to the other characters in terms of power and status? How do
they walk, stand, move, talk? What image or noise would represent them?
Emotion
All these elements combine to create emotion, both within the characters and the audience, in order
to make them care enough about the problem you have designed and the characters involved in it.
The emotions of the characters should change and develop, just as we do in real life!

The performance
INTRODUCTION:
The Joker needs to explain what will happen. This can
be as simple as them saying:
Today, you will see a piece of theatre about a
problem. Watch this character carefully. What would
you do in their position? Do they make good choices?
What would you do differently?

Or, for larger audiences, it may involve the entire cast

performing an ensemble piece o movement, song or
dance that will capture the audiences attention:
An example of an ensemble introduction could be:
JOKER: Good morning!
CAST: GOOD MORNING!
JOKER:Today for you we have a piece of theatre!
CAST: THEATRE!
JOKER: You will see joy and happiness!
CAST: JOY AND HAPPINESS!
JOKER: You will see terror and oppression!
CAST: TERROR! OPPRESSION!
JOKER: Watch this character carefully. After we have played, you will play!
CAST: PLAY WITH US!
JOKER: When the time comes, will you help us?
CAST: HELP US!

The objective is to ENERGISE and ENGAGE the audience, for them to understand the game,
and ideally for them to agree to help change the outcome when the time comes.

THE PERFORMANCE:
During the performance, both the joker and the actors should study the audience's responses:
- Are they paying attention?
- Are they responding emotionally? Laughter? Tears? Discussion? Boredom?
- Can they understand the world you are creating and the characters within it?
- Are they relating to the problem being presented in the anti-model?

THE FORUM

NOW THE DIALOGUE BEGINS!

Once the anti-model has been played, the Joker returns to the stage and begins the discussion with
the audience. Examples of possible questions are presented in the appendix of this manual. The
important thing is for the Joker to promote ACTION over TALK. It is very easy to sit in the
audience and let them explain what to do it is much more challenging to act out the solution
against the resistance of the antagonist!
The Joker warms up the audience and re-explains the rules of the game. At any point they can shout
'stop!' and change what is happening onstage. There are different versions of forum that allow for
different replacements, and the important thing is to have a LIVE ACTION DIALOGUE with the
audience. The Joker must moderate this discussion, and help the audience to become 'spect-actors'
who rehearse their solutions for the audience to evaluate.
The antagonists must resist the solutions presented by the spect-actors and explore the potential for
success. This depends on the character being played, and the desires and experience of the actor
playing that character! It is important to allow the dialogue to develop, so long as the solution seems
realistic and the audience seems engaged in what is being presented.

The EVALUATION

POST-FORUM
There are a number of ways to 'finish' the forum session:

'

- the Joker can summarise the solutions presented and thank the audience.
- the Joker can ask the actors and spec-actors to make an image of the 'ideal' solution, or of a
model of the future'
- the actors can join the audience and continue the discussion with them in smaller groups,
before returning to the stage to share them with the entire group. Possibly they would even
model further solutions.

POST-INTERVENTION
After the forum, it is also vital for the actors and joker to evaluate the successes and challenges of
their forum. Possible evaluation questions include but are not limited to:
- were the spec-actors motivated to enter the space to improvise solutions? Why? Why not?
- what were the different solutions suggested by the spect-actors?
- generally what was the audience's response? Why?
- which parts of the performance did they respond to? Which characters? Which moments?
- how successful was the joker? Did they successfully create a dialogue?
- what were the discussions around? Did they discuss the issue you had selected?
Through this method you should begin to learn how to make more effective and engaging pieces of
forum theatre.

THE joker

WHO IS THE JOKER?

The joker has the most responsibility in coordinating the creators, because everyone has to be
involved creating. As the joker you have the responsibility to coordinate all the creations and the
creators. But you also have to take care not to impose your own view. You are not superior to
anybody. You have your opinion, you have your intelligence, you can have all the qualities you
have, but you never say I am like this or I have more knowledge of this; that is the basics of it. Why
is it called the joker? In Portuguese it is "coringa" , in Spanish "comodin", but in English,
unfortunately, joker also relates us to joking. We say "jokering" and not joking, because it means
the white card. A joker, a real joker, is a person who can help the people write a play, help people
do the blocking of the play, help the people with the music, with the text, with everything. That is the
white card, so the responsibility is to learn more and more and know more and more, so that you
can teach in many ways. That is a bigger responsibility. But you have to teach in a democratic way,
to respect the other ones.
When the audience want to discuss what they think, the jokers responsibility is a moral
responsibility above all. It is important not to use this privileged position to impose ideas, because
it is a privileged position. - Augusto Boal
The Joker is a wild card ... they can have many roles ...
... a facilitator ... there to make things easier for actors and spect-actors
... a difficultator ... there to make things more challenging for the spect-actors
... a mediator ... to control and coordinate the flow of conversation and debate
... a bridge ... between the actors and the audience
... a director ... they can stop and start the action at any time, change the story, rearrange the world,
as long as it enables and encourages the dialogue and debate around the issue!
The style and temperament of the joker will vary from person to person, but several aspects must
remain the same:
- They must be NEUTRAL. They are their to encourage others to dialogue and involve in the
problem solving.
- They must ASK QUESTIONS. The use of questions is the key skill of the joker in engaging an
audience. Asking the wrong questions will confuse and alienate the audience. Asking the right ones
will excite and engage them!
- THEY ARE ALWAYS PRESENT. The joker should never disappear. Even sitting down on the
side of th stage suggests they are no longer there! They should always have one eye on the
audience, and one on the show.
- THEY ARE THE MIRROR OF THE AUDIENCE. A nervous joker will make the audience
nervous. An enthusiastic joker will enthuse them. It takes time to learn this skill. Have no fear,
persevere!

EXAMPLES of jokering questions

There are two main types of questions the Joker can use to engage the audience and encourage them
into action. These are CLOSED QUESTIONS and OPEN QUESTIONS. The Joker chooses
which to use on the basis of what his objective is. Closed questions have limited answers (yes or no,
single word responses, a concrete answer) whereas open questions will allow for broader
discussion.
It is important the joker uses these questions skillfully to encourage people to ACT rather than to
TALK. Getting the audience comfortable with talking to you is the first step in changing the
passive into the active. The objective is for the audience to become SPECT-ACTORS and change
what is happening onstage.
PRE-PERFORMANCE...
An example of an introduction has already been discussed in the Performance section of this
booklet. The major objective is getting a 'YES' from everybody to help when the time comes.
AFTER THE PERFORMANCE...
Is this a real situation? Does this happen?
Is this a happy ending/ Do you want the opportunity to change what happens?
Where are we?
Who was this character? What did you see them do?
Could this character have done anything differently?
Do you want to help this character? Was there a moment when they made a mistake?
We will now play the scene again, when you see a moment this character can do something
differently, you shout out ... Stop! Let's practice. 1, 2, 3, - stop (repeat as needed)
AFTER EACH INTERVENTION...
(To spect-actor): Have you shown what you wanted to show?
(To audience) Was the outcome of this solution different? Was the problem solved?
Is this a real solution? Could this happen?
How did the outcome change? Did the protagonist solve their problem?
Are there any other possible solutions? Could this character try anything else?
(If audience energised, they can immediately enter, if not, replay the scene again.)
AFTER THE FORUM ...
The Joker can ask the audience which of the solutions they preferred. Members of the audience may
disagree and debate. This is the dialogue enacted!

APPENDIX a: EXAMPLES of games

The games and exercises of Theatre of the Oppressed often form micro-models of the wider
principles and ideas of forum theatre and its liberatory philosophy. Included here are some
examples, all of which are available in Augusto Boal's 200 Games For Actors & Non-actors.
Colombian hypnosis...
One actor holds her hand palm forward, fingers upright, anything between 20 and 40 centimetres
away from the face of another, who is then as if hypnotised and must keep his face constantly the
same distance from the hand of the hypnotiser, hairline level with her fingertips, chin more or less
level with the base of her palm. The hypnotiser starts a series of movements with her hand, up and
down, right and left, backwards and forwards, her hand vertical in relation to the ground, then
horizontal, then diagonal, etc. the partner must contort his body in every way possible to
maintain the same distance between face and hand, so that face and hand remain parallel. If
necessary, the hypnotic hand can be swapped; for instance, to force the hypnotised to go between
the legs of the hypnotiser. The hand must never do movements too rapid to be followed, nor must it
ever come to a complete halt. The hypnotiser must force her partner into all sorts of ridiculous,
grotesque, uncomfortable positions. Her partner will thus put in motion a series of muscle
structures which are never, or only rarely, activated. He will use certain forgotten muscles in his
body. After a few minutes, the two actors change, the follower and the leader. After some more time,
both can extend a hypnotising right hand, becoming leaders and followers at one and the same
time.
Joe Egg (aka trust circle)
Ask the group to form a circle an arms length apart, with everybody standing facing the centre,
holding their bodies absolutely upright. Then they must lean towards the centre without bending at
the waist, or arching their backs, or lifting their heels off the ground like the Tower of Pisa. Next,
ask them to lean outwards in the same manner (without lifting their toes). Then repeat the whole
sequence several times, towards the centre, towards the outside.
Then they do the same thing towards the left and towards the right, still without bending in the
middle, without lifting the feet. Ask them to describe a circle in the air with their bodies, leaning
into the centre,to the left, outwards, to the right, into the centre, etc. Then the same thing the other
way round: centre, right, outwards, left. Several times. Ask a volunteer to go into the centre of the
circle. Everyone tightens the circle around her, so it is now made up of bodies touching shoulder to
shoulder. The person in the middle must close her eyes and do the same leaning movements as
before, but this time she is going to let herself fall. When she falls, everyone in the circle must
support her with their hands (giving a little as her body meets their hands so that there is no abrupt
impact) and then propel her gently back towards the centre, where she doesnt come to rest, because
she starts to fall in another direction, and thus it goes on. It is very important that there are always
at least three people at any given moment taking care of the person in the middle. At the end, if you
want, you can roll the person around the circle, instead of immediately standing her up in the
middle again.
The bear of Poitiers
One participant is designated the bear of Poitiers (a French town where this game is played). She
turns her back on the others, who are the foresters. The latter busy themselves with their forestry
tasks woodcutting, planting, tree-felling, taking a break, whatever. After an interval, the bear must
give vent to an enormous growl, whereupon all the woodcutters must fall to the ground and play
dead, not making the slightest movement, absolutely motionless as if their life depended on it. The

bear goes up to each one of them, growling at will, and touches, tickles, prods, tries any trick she
can think of to make them laugh, to make them move; in short, her goal is to force them to reveal
that they are alive. When the bear succeeds, the forester who has given himself away becomes a
second bear, and the two bears set off to do the same thing to the other foresters, who still try not
to move. Eventually there are three bears, then four, and so on.
Clay-modelling ...
The participants arrange themselves in two lines facing each other. One of the lines is made up of
sculptors, and the other of statues. At the beginning of the exercise, each sculptor starts using her
hands to model the statue she has in mind. To this end, she touches the statues body, taking care
to achieve the effects she is striving for, down to the smallest detail. The sculptors cannot use
mirror language, they cannot use their own bodies to show the image or expression they want to
see reproduced; here neither mimesis nor reproduction comes into the equation, this is no longer a
dialogue, this is modelling. Consequently, it is necessary to touch, to mould; each action on the part
of the sculptor provokes a corresponding reaction, each cause produces a different effect. In the
mirror dialogue both partners are always synchronised, carrying out the same action. In the
modelling dialogue, though synchronised, the partners actions are complementary.
Complete the image
A pair of actors shake hands. Freeze the image. Ask the watching group what possible meanings the
image might carry: is it a business meeting, lovers parting for ever, a drug deal, they love each
other, they hate each other, etc.? Various possibilities are explored to show all the meanings a
single image can have.Everyone gets into pairs and starts with a frozen image of a handshake. One
partner removes himself from the image, leaving the other with his hand extended. Now what is the
story? Instead of saying what he thinks this new image means, the partner who has removed himself
returns to the image and completes the image, thus showing what he sees as a possible meaning for
it; he puts himself in a different position, with a different relationship to the partner with the
outstretched hand, changing the meaning of the image, but conveying an idea, emotion, feeling
this is a dialogue of images, not just a juxtaposition.
Then the first partner comes out of this new frozen image and looks at it. When he was inside it, he
had a feeling; outside it, the remaining partner in the image staying frozen and now alone, the
image will have a different meaning, evoke a different emotion, idea, etc. So, he completes it,
changing its meaning again. And so on, the partners alternating, always in a dialogue of images.
The players should look quickly at the half-image they are completing, arranging themselves in a
complementary position as fast as they can not only to save time but to avoid thinking with words
and translating them into images; like the modelling exercises, the actors should think with their
bodies and their eyes. It does not matter if there is no literal meaning to the way an actor chooses
to complete the image the important thing is to keep the game moving and the ideas flowing. Then
the Joker can add a chair to the game, two chairs, an object or two objects how does this affect
things, how does it change the dynamic?
The image of the hour...
The Joker calls out a time of day, and the actors must do whatever movements their bodies usually
make at that particular time. The Joker runs through different times, different occasions, significant
dates etc.: 6 oclock, 7, 8, 9, midday, 14:00,20:00, midnight, Sunday lunch, Saturday night, election
day, when you wake on your birthday, the most agreeable thing you do, the most disagreeable, etc.

APPENDIX B: EXAMPLES of FORUMS

1)

The Rejected Neighbour

A group of villagers are singing and dancing together. A NEIGHBOUR passes, and VILLAGER 1
draws him in to the dance, teaching him some moves. VILLAGER 2 grows extremely angry,
shouting and trying to attack the NEIGHBOUR, having to be held back by the others. The
NEIGHBOUR leaves. VILLAGER 2 explains that the NEIGHBOUR is a former Khmer Rouge
cadre member, and he would happily kill him for what he did.
Later, VILLAGER 1 visits the neighbor and tries to speak to him about what happened. The
NEIGHBOUR is so upset, he cannot respond. We see through images him remembering the things
that happened in 1975, we see images of forced evictions, forced labour, the rise of the Khmer
Rouge, and the execution of peasants.
Interventions
1) Spectactor replaces VILLAGER 1 and tries different techniques to placate
VILLAGER 2. VILLAGER 2 remains extremely angry, but does listen to
VILLAGER 1.
2) Spectactor takes the role of VILLAGER 2 and happily invites the NEIGHBOUR to
join in the dance. The audience complained that this was not real.
3) Spectactor replaces NEIGHBOUR and tries to bring VILLAGER 2 some flowers to
say sorry. VILLAGER 2 takes the flowers, but then throws them down on the ground
and rejects the apology saying it is too little, too late.
4) Spectactor takes the role of a policeman and enters into the disagreement, attempting
to negotiate harmony between the fighting groups.
5) Spectactor takes the role of VILLAGER 1 and visits the NEIGHBOUR later that
day. They sit and talk and VILLAGER 1 tries to get the NEIGHBOUR to share his
emotions and feelings about what happened in the past.
Discussion & Evaluation
Throughout the forum, it seemed clear that the audience was engaged in trying to find solutions to
the extreme anger and pain of VILLAGER 2 and the suffering and rejection of the NEIGHBOUR.
Attempts at reparation and reconciliation took the form of physically preventing violence and trying
to find ways to get the various parties to talk to one another, even if that be through a third-party.
The group seemed satisfied that interventions 4 and 5 seemed real and plausible as solutions to this
problem.
Final Image
As a final image, the audience converted the frozen image of anger and violence into one where
everyone was sat together attempting to communicate with soft gestures and understanding.

2)

Post Traumatic Stress & the Wat

An ELDERLY WOMAN prepares herself for bed and sleeps. We see her having a nightmare about
what happened to her during the Khmer Rouge, where her HUSBAND is stopped from singing a
song and taken captive by KHMER ROUGE guards, who first put him to work in the fields and
then execute him. The WOMAN awakes from her dream and is extremely distressed and upset. At
the wat where she lives, she becomes extremely angry with the other RESIDENTS and smashes a
breakfast bowl of rice. The other RESIDENTS and a MONK try to comfort her and get her to talk
about what is wrong, but she is unable to communicate her feelings and ends up rejecting the
assistance of the others.
Interventions
1) Spectactor replaces RESIDENT and attempts to speak to the WOMAN in a different
manner, exercising patience and understanding in allowing her to be angry and upset,
rather than reacting angrily as well.
2) Spectactor takes the place of the WOMAN during her bad dream, and demonstrates
practicing meditation as a way of coping with post-traumatic stress disorder (PTSD).
3) Spectactor takes the place of the MONK and attempts to sit with her and allow her to
explain herself, rather than maintaining a lofty and distant position above and away from
her.
Discussion & Evaluation
In this forum, the techniques of the Rainbow of Desire were demonstrated and discussed through
intervention 2, where the audience and actors saw and understood that internal or abstract
oppressions can also be discussed through the use of image and theatre. The group responded
positively to the suggestion that religion and internal work by the individual can be a valid and
realistic response to PTSD, as well as experimenting with the different roles played in a village by
figures such as peers (RESIDENT) and religious figures (MONK).
Final Image
As a final image, the group reworked the image of the WOMAN suffering from nightmares and
trauma to one where she assumed a peaceful, meditative posture at the centre of a nurturing
community of equals supporting her recovery.

3)

The Joker Struggles To Motivate A Crowd

A JOKER is onstage at the close of a forum performance. The audience is a mixture of a village
CHIEF, an ELDER person and a YOUTH. At first they applaud enthusiastically, but as the joker
debriefs them they become less and less enthusiastic and refuse to respond to the joker's questions.
The joker keeps trying, becoming more and more nervous and uncomfortable. Eventually the joker
gives in, having failed to motivate the audience to dialogue with them.
Interventions
1) The Joker attempts a different series of questions and tries to point the microphone at the
audience. They move physically closer and get on the same level as the audience members.
The audience still does not respond.
2) The Joker attempts to flirt and bribe the YOUTH, who becomes so intimidated that they
leave the area.
3) Two jokers work in unison, with one onstage and one with a microphone in the audience.
They manage to get a limited amount of conversation and dialogue going with some of the
audience members.
4) The Joker takes time to build rapport with individual members off the audience. He asks
the YOUTH their name, age and favourite school subject. They ask the CHIEF what his job
is (fisherman) and the ELDER his name and age. The Joker then sends the ACTORS into the
audience to talk to individuals. The ACTORS then return to the stage and the JOKER
facilitates a conversation between the audience and ACTORS using a SECOND JOKER
with a microphone in the audience.
Discussion & Evaluation
In review of the problem presented by the group, the members decided on a number of future
actions for preparing to deal with this problem in future forums. The example was based on a real
experience of performing in a village for several hundred audience members. Participants decided
that the tactic of having two jokers was very effective; that establishing a rapport with the audience
was a vital part of the Joker role and that performers needed to deeply prepare their role for greater
impact. The discussion also raised questions around staging (performing on a stage distances the
audience and creates a barrier), timing (young people cannot attend after dark) and the idea that
community performers with limited time to prepare could be given a list of questions to ask
audience members.

4)

An Actor Fails To Prepare

Two ACTORS visit a CIVIL PARTY whilst a third ACTOR goes out birdwatching. The ACTORS
prepare to perform with the CIVIL PARTY, but during the performance of a violent eviction, the
THIRD ACTOR smiles constantly and makes the performance implausible. The CIVIL PARTY
actor also has 'the wrong emotion' but also trauma from experience with the Khmer Rouge.
Interventions:
1) First intervention replaced the THIRD ACTOR and performed without smiling.
2) The THIRD ACTOR is encouraged to rehearse and practice more to improve his skills.
3) The THIRD ACTOR requests more time from his co-actors to practice, or even to change
roles.
4) Suggestion of using masks or traditional make-up for actors with less experience.
Discussion & Evaluation
Participants evaluated the forum in the following ways: that the selection of appropriate actors with
appropriate skills was vital; that they should make more time for performance training; that they
needed to refocus on performance skills; that the design of the story was vital as there was some
misunderstanding about what this piece was really about; that the design process needed to ensure
that it fits the community it is being designed for.
5)

Domestic Violence In The Village

A HUSBAND and a WIFE argue about money in a rural area. She refuses at first but eventually
gives him money, which he spends on alcohol. SON is a good student, and heads off to school.
HUSBAND goes to a shop to meet his FRIEND where he spends all his money on alcohol. He
returns home drunk and has a violent argument with his wife.
Interventions
1) Students travel to the village to give advice on impact of alcohol and beer, especially the
impact on the whole family. Husband argues that it is his money so he will spend it on
whatever he wants.
2) The SON returns home and physically fights with the FATHER to protect the WIFE.
3) WIFE asks HUSBAND to eat, refusing to give money, but keeping it to buy food.
Discussion & Evaluation
The discussion around this forum focused on ideas of responsibility for educating around
alcoholism and domestic violence. There was some concern that this piece, although supposedly
about gender-based violence, largely focused on alcoholism.

6)

The Eviction

A pair of PEASANT farmers is working the land when two BODYGUARDS turn up threatening to
evict them and burn their house down. The PEASANTS are furious, and organise a large number of
people to go to the PRIME MINISTER's house to give a petition. At the ministry they are prevented
from seeing the PRIME MINISTER by a BODYGUARD, who violently rejects them.
Interventions
1) Representatives of a land rights NGO provide the PEASANTS a lawyer who offers
assistance filling in forms. They meet with the village CHIEF and there is a great deal of
discussion.
2) PEASANTS stay in Phnom Penh and work for an NGO, using 'no guns, only paper to
fight it'. They try to find more people to help.
3) The PEASANTS ask the media to come and assist as well as a lawyer. Media manages to
get to speak to the PRIME MINISTER.
4) PEASANTS incite the other protesters (audience) to join them and physically overpower
the bodyguard, chanting 'land rights now!'
Discussion & Evaluation
This forum generated a lot of discussion around people solving their own problems (the
PEASANTS) and being assisted by allies such as the media, NGOs and lawyers. It was raised that
depending on the audience, the responses would be very different, and that because most of today's
audience were NGO-workers and volunteers, that had effected the types of solution presented.
7)

The Office Party

BOY and GIRL get ready for a celebratory office party thrown by their BOSS because of all their
good work. They dress nicely and take a moto to the party, where they are encouraged to drink
heavily. The BOY at first refuses, as he does not usually drink. First his boss convinces him to have
one, because he is the boss. A COWORKER calls him boring, so he has another. A OFFICE GIRL
mocks him saying that she is drinking more and she is a girl. In the end, BOY is so drunk that when
he drives home he crashes the bike, injuring himself and GIRL.
Interventions
1) First BOY tries to argue with co-workers, saying that if they drink too much, they can't
work in the morning. The co-workers argue with him and laugh at his idea.
2) Near to the accident, BOY is arrested by the police and breathylised. They ask the GIRL
to call the relatives to pick him up. He passes out on the floor.
3) BOY wants to take a tuk-tuk home, but there are none available. He asks GIRL to drive,
but she cannot. GIRL argues until BOY drives home, and they crash.
4) Replacing the GIRL, makes a deal with BOY to go by taxi. She argues with BOY that she
is scared if he drinks too much. She argues with everyone, ruining the party. Eventually
agrees to one drink until her mum calls her back. They argue about the tuk-tuk. Eventually,
GIRL convinces BOY to leave early.
5) BOY says he is very sick and on orders from doctor not to drink.
Discussion & Evaluation
Largely focussed around issues of peer pressure and personal responsibility in terms of alcohol use.

Reboot the Roots is a charity that promotes social inclusion through the arts. It uses theatre, music
and workshops to support people who are denied their rights to full, happy and active participation
in society. This includes those recovering from addiction, people living with HIV/AIDS and
individuals who have been in conflict with the law.

We facilitate workshops with the socially excluded. We train trainers from other organisations and
NGOs in techniques of art for inclusion. We help other practitioners to achieve their goals through
logistical support, consultation and funding.
Social exclusion is the name given to various processes, which progressively cause ruptures and
detachment of certain groups or individuals within the broader scheme of society. This could mean
alienation or even prevention of groups or individuals from participating in what we might call a
normal, healthy life.
We believe that creative tools for social transformation can end this process of alienation and enable
people to participate fully and equally in society.

Please feel free to contact us at info@reboottheroots.org.uk

www.reboottheroots.org.uk
www.facebook.com/rebootroots

Registered Charity Number: 1145665