- Translator’s Introduction
- Why this Book? My three theatrical encounters
Part one: The theory[rtoc]
- Theatre, the first human invention
- Human beings, a passion and a platform: The ‘aesthetic space’
- What is theatre? The Aesthetic Space • Characteristics and Properties of the Aesthetic Space • The first property of the aesthetic space: Plasticity (The aesthetic space liberates memory and imagination, The affective dimension and the oneiric dimension) • The second property of the aesthetic space: It is dichotomic and it creates dichotomy (the theatrical stage and the therapeutic stage) • The third property of the aesthetic space: It is telemicroscopic • Conclusion
- What is the human being?
- What is the actor?
- The three hypotheses of ‘The cop in the head’
- First hypothesis: osmosis
- Second hypothesis: metaxis
- Third hypothesis: analogical induction
- Experiences in two psychiatric hospitals
- Sartrouville
- Fleury-les-Aubrais
- Preliminaries to the utiliisation of the Rainbow of Desire techniques
- 1: The modes The ‘normal’ modes • The ‘Breaking the oppression’ mode • The ‘Stop and Think!’ mode • The ‘Softly Softly’ mode – Slow and low • The ‘Lighting forum’ mode • The ‘Agora’ Mode • The ‘Fair’ mode • The ‘Three wishes’ Mode • The ‘Dissociation’ Mode • The ‘Playing to the Deaf’ Mode
- 2: The improvisation
- 3: Identification, recognition and resonance
- 4: The four catharses: Medical catharsis • ‘Morenian’ catharsis • Aristotelian catharsis • Catharsis in the Theatre of the Oppressed [/rtoc]
Part two: The practice[rtoc]
- The prospective techniques
- 1: The image of the images Stage one: The individual images • Stage two: The parade of the images • Stage three: the image of the images • Stage four: the dynamisation • First dynamisation: interior monologue • Second dynamisation: dialogue • Third dynamisation: desire in action • THE PRACTICE: Alzira’s threat / The women holding Luciano by the legs
- 2: The image of the word
- 3: Image and counter-image Stage one: The stories • Stage two: the formation of two images • Stage three: observations on the two images • Stage four: the dynamisations – The three wishes / The verification of possible desire and utopian desire / The pilots change places • THE PRACTICE: The dance with the co-pilot / Lord Byron: a time for leaving
- 4: The kaleidoscopic image Stage one: the improvisation • Stage two: the formation of images • Stage three: the constitution of couples and their witnesses • Stage four: the fair • Stage five: the reimprovisations • Stage six: the discussion • THE PRACTICE: The captain in the mirror / The strangled word / It’ll come …
- 5: The images of the image Stage one: the improvisation • Stage two: the formation of images • THE PRACTICE
- 6: The projected image
- 7: The image of the hour Stage one: the game • Stage two: the discussion
- 8: The ritual gesture: SOCIAL CODE, RITUAL AND RITE: Stage one: the model / Stage two: The dynamisation
- 9: Rituals and masks
- 10: The multiple image of opression
- 11: Multiple images of happiness
- 12: The rotating image
- 13: The image of transition
- 14: The image of the group
- 15: Rashomon Stage one: the improvisation • Stage two: the protagonist’s images • Stage three: The reimprovisation • Stage four: the other characters make their images and reimprovise • THE PRACTICE
- The introspective techniques
- 1: The image of the antagonist Stage one: the image of oneself • Stage two: the constitution of families of images • Stage three: the choice of images • Stage four: the dynamisation • Stage five: identification or recognition • Stage six: improvisation in two modes • Stage seven: the second improvisation • Stage eight: the exchange of ideas • THE PRACTICE: FEAR OF THE VOID
- 2: The analytical image Stage one: the improvisation • Stage two: the formation of images • Stage three: the formation of couples • Stage four: the reimprovisations • Stage five: the protagonist takes over the images • Stage six: the protagonist pits herself against all the images of the antagonist simultaneously • Stage seven: the antagonist pits himself against all the images of the protagonist simultaneously • Stage eight: further improvisation • Stage nine: the exchange of ideas • THE PRACTICE: IN THEATRE, EVEN LIES ARE TRUE
- 3: The circuit of rituals and masks Stage one: the ritualised improvisations • Stage two: strengthening the mask • Stage three: the conflict between the masks and the rituals
- 4: The image of chaos: Stage one: The formation of images • Stage two: the fair • Stage three: the discussion
- 5: The image of the ‘cops in the head’ and their antibodies Stage one: the improvisation • Stage two: the formation of images • Stage three: the arrangement of the constellation • Stage four: the in-formation of the images • Stage five: the reimprovisation with the images • Stage six: The lightning forum • Stage seven: The creation of antibodies • Stage eight: The fair • Stage nine: the discussion • THE PRACTICE: Vera’s friends / A little boy, Henrique’s friend / The ‘old’ Joachim and the phagocyte ‘cop’ • OBSERVATIONS
- 6: The image of the ‘cops in the head’ of the spectators
- 7: The image of the rainbow of desire Stage one: the improvisation • Stage two: the rainbow • Stage three: the brief monologues, the confidences • Stage four: the part takes over the whole • Stage five: the whole rainbow • Variation • Stage six: will versus desire • Stage seven: the protagonist takes the antagonist’s place • Stage eight: the agora of desires • Stage nine: the reimprovisation • Stage ten: the discussion • THE PRACTICE: Soledad’s sensory images / The frightening love / The elephant of Guissen, in West Germany / Linda the lovely / New stages
- 8: The screen-image Stage one: the improvisation • Stage two: the formation of screen-images • Stage three: the improvisation with the screen-images • Stage four: the images become autonomous • Stage five: the protagonist and antagonist return • Stage six: the rotating image • Stage seven: the exchange of ideas
- 9: Contradictory images of the same people in the same story Stage one: sensitising the antagonist-actor • Stage two: the improvisation • Stage three: the images • THE PRACTICE
- The extraversion techniques
- 1: Improvisations ‘STOP AND THINK’: Stage one: the ‘for the deaf’ mode / Stage two: the ‘normal’ mode / Stage three: stop and think! / Stage four: the exchange of ideas / Stage five: the reimprovisation with artificial pause / Stage six: the discussion • THE PRACTICE: Gutman’s revenge / Soledad • THE ANALYTICAL REHEARSAL OF MOTIVATION • THE ANALYTICAL REHEARSAL OF STYLE • THE PRACTICE • BREAKING THE OPPRESSION • ACTION! WE’RE SHOOTING • SOMATISATION
- 2: Games THE EMBASSY BALL • THE OPPOSITE OF ONESELF • AWAKENING DORMANT CHARACTERS
- 3: Shows FORUM THEATRE • INVISIBLE THEATRE
- Postscript: The techniques and ourselves: An experiment in media[/rtoc]
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