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| List of figures | |
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| Translator's introduction to the first edition | |
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| Translator's postscript to the second edition | |
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| Preface to the second edition: The Royal Shakespeare Company, theatre in prisons and landless peasants | |
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| Postscript--with pride in our hearts | |
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| Preface to the first edition: the fable of Xua-Xua, the prehuman woman who discovered theatre | |
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| Postscript: actors and non-actors | |
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| Theatre of the Oppressed in Europe | |
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| Introduction | |
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| The Godrano experience: my first Forum Theatre in Europe or the ultimate spect-actor/protagonist! | |
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| Feminism in Godrano | |
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| The police again | |
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| The oppressed and the oppressors | |
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| The Structure of the Actor's Work | |
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| The primacy of emotion | |
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| Muscular exercises | |
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| Sensory exercises | |
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| Memory exercises | |
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| Imagination exercises | |
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| Emotion exercises | |
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| Rationalising emotion | |
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| A la recherche du temps perdu | |
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| The dialectical structure of the actor's interpretation of a role | |
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| The will | |
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| The counter-will | |
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| The dominant will | |
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| Quantitative variation and qualitative variation | |
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| The Arsenal of Theatre of the Oppressed | |
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| Introduction: a new system of exercises and games from Theatre of the Oppressed | |
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| Two unities | |
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| Five categories of game and exercise | |
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| Feeling What we Touch (Restructuring Muscular Relations) | |
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| General exercises | |
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| The cross and the circle | |
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| Colombian hypnosis | |
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| Minimum surface contact | |
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| Pushing against each other | |
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| Joe Egg (aka trust circle) | |
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| The circle of knots | |
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| The actor as 'subject': the Greek exercise | |
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| The actor as 'object' | |
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| Lifting someone out of a chair | |
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| Equilibrium of the body with an object | |
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| A balloon as an extension of the body | |
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| Racing on chairs | |
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| Rhythm with chairs | |
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| Musical chairs | |
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| Movement with over-premeditation | |
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| Difficulties | |
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| Divide up the movement | |
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| Dissociate coordinated movements | |
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| Walks | |
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| Slow motion | |
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| At a right angle | |
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| Crab | |
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| Crossed legs (aka three-legged race) | |
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| Monkey | |
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| All fours | |
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| Camel walk | |
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| Elephant walk | |
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| Kangaroo walk | |
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| Leaning-against-each-other walk | |
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| Strapped-feet walk | |
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| Wheelbarrow | |
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| As you like it | |
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| Imitating others | |
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| Massages | |
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| In a circle | |
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| The movement comes back | |
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| Sea waves | |
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| The rolling carpet | |
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| Back massage | |
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| The demon | |
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| Integration games | |
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| Person to person, Quebec-style | |
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| The bear of Poitiers | |
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| The chair | |
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| Leapfrog | |
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| The Brueghel game | |
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| Stick in the mud | |
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| Grandmother's footsteps | |
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| Millipede | |
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| Apple dance | |
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| Sticky paper | |
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| The wooden sword of Paris | |
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| American football (aka British bulldog) | |
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| Three Irish duels | |
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| Little packets | |
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| Cat and mouse | |
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| Homage to Tex Avery--cat and dog(s) | |
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| The handkerchief game (aka the hat game, aka dog and bone) | |
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| Good day | |
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| Cadavre exquis (aka consequences) | |
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| The parachute | |
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| Balance with an object | |
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| Gravity | |
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| Horizontality sequence | |
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| Verticality sequence | |
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| Sequence of rectilinear and circular movements | |
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| Listening to What We Hear | |
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| Rhythm | |
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| A round of rhythm and movement | |
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| Game of rhythm and movement | |
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| Changing rhythms | |
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| The machine of rhythms | |
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| The Peruvian ball game | |
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| The clapping series | |
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| West Side Story | |
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| The Portuguese rhythmic shoes | |
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| The two brooms | |
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| The four brooms | |
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| Horseshoe rhythms | |
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| Circular rhythms | |
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| The big chief | |
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| The orchestra and the conductor | |
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| Rhythm dialogue in teams | |
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| Chain rhythm dialogue | |
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| Pretend Brazilian 'Indians' | |
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| Lines of five | |
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| The president's bodyguards | |
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| Walk, stop, justify | |
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| Carnival in Rio | |
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| Bolivian mimosas | |
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| How many 'A's in a single 'A'? | |
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| Two by three by Bradford | |
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| Crossing the room | |
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| Circle of names of Belo Horizonte | |
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| Circle of rhythms of Toronto | |
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| Melody | |
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| Orchestra | |
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| Music and dance | |
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| Sounds and noises | |
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| Sound and movement | |
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| Ritual sound | |
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| The rhythm of respiration | |
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| Lying on your back completely relaxed | |
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| Leaning against a wall | |
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| Standing up straight | |
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| Breathe in slowly | |
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| Explosion | |
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| Breathe in slowly while lifting the arms | |
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| The pressure cooker | |
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| Breathe in as quickly as possible | |
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| Breathe in as slowly as possible | |
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| Breathe in deeply through the mouth | |
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| Breathe in with clear definition and lots of energy | |
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| Two groups | |
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| Breathe out, standing in a circle | |
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| One actor pretends to pull the stopper out of another's body | |
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| A, E, I, O, U | |
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| All the actors, standing facing the wall | |
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| Two groups of actors, facing each other | |
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| With their bodies in maximum possible contact with the floor | |
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| Lying on their backs on tables | |
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| Internal rhythms | |
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| Rhythmic images | |
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| Dynamising Several Senses | |
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| The blind series | |
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| The point of focus, the embrace and the handshake | |
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| Noises | |
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| The imaginary journey | |
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| The glass cobra | |
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| One blind line, one sighted line | |
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| The magnet--positive and negative | |
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| Swedish multiple sculpture | |
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| The vampire of Strasbourg | |
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| The blind car | |
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| What is the object? | |
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| The smell of hands | |
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| The figure-of-eight chicane | |
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| Goalkeeper | |
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| Friend and enemy | |
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| Draw your own body | |
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| Modelling clay | |
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| Touch the colour | |
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| The blind person and the bomb | |
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| Find the hand | |
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| The siren's song | |
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| Find a convenient back | |
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| The melodic hand | |
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| The sound of the seven doorways | |
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| Recognising the `Aaah!' | |
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| The space series | |
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| Without leaving a single space in the room empty | |
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| Instead of simply saying 'Stop', the Joker says a number | |
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| The Joker says a number and a geometric figure | |
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| The Joker says a number and a part of the body | |
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| The Joker calls out a colour and an item of clothing | |
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| The participants run slowly | |
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| The participants touch each other | |
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| Seeing What We Look at | |
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| The mirrors sequence | |
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| The plain mirror | |
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| Subject and image swap roles | |
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| Subject-image, image-subject | |
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| Everyone joins hands | |
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| The two lines form a curve | |
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| Symmetrical groups | |
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| The mirror breaks | |
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| Changing partners | |
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| The distorting mirror | |
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| The narcissistic mirror | |
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| The rhythmic mirror | |
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| Unification | |
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| The modelling sequence | |
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| The sculptor touches the model | |
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| The sculptor doesn't touch the model | |
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| The sculptors spread out around the room | |
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| The sculptors fashion a single sculpture together | |
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| Sculpture with four or five people | |
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| The puppet sequence | |
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| String puppet | |
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| String puppet with rod | |
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| Image games | |
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| Complete the image | |
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| Ball games | |
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| Boxing match | |
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| One person we fear, one person is our protector | |
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| Furnish the empty space | |
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| Atmosphere of snow | |
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| Building character relations | |
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| Characters in movement | |
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| Observation | |
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| Complementary activities | |
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| What has changed? | |
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| Tell your own story | |
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| The antiquated telephone exchange | |
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| Concentration | |
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| Animals | |
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| Professions | |
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| The balancing circle | |
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| The 'Indian' in the city, the city dweller in the forest | |
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| Games of mask and ritual | |
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| Follow the master | |
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| Follow two masters--who metamorphose into each other | |
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| Rotation of masks | |
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| Unification of masks | |
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| Collective creation of a mask | |
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| Addition of masks | |
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| Pushing the mask to its extremity and nullifying it | |
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| Following the master in his own mask | |
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| Changing masks | |
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| Mask exchange | |
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| The masks of the actors themselves | |
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| Substitution of mask | |
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| Separation of mask, ritual and motivation | |
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| Changing a whole set of masks into a different social class | |
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| Making the mask all-encompassing | |
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| Changing actors mid-ritual | |
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| A round of masks in different circumstances | |
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| Natural and ridiculous | |
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| Several actors on stage | |
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| The game of complementary roles | |
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| The politicians game | |
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| Exchange of masks | |
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| Exchange of roles | |
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| Fainting at Frejus | |
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| The designated leader | |
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| The clown of Amsterdam | |
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| The animals of Vienna | |
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| Looking first at one another and then at the same spot | |
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| Cookies | |
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| The image of the object | |
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| The found object | |
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| The object transformed | |
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| The object created out of simple things | |
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| Homage to Magritte--'This bottle is not a bottle' | |
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| The invention of space and the spatial structures of power | |
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| Space and territory | |
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| Inventing the space in a room | |
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| The great game of power | |
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| Chairs in the empty space | |
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| Where is my place? | |
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| Six chairs | |
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| Photographing the image | |
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| Games involving the creation of characters | |
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| Murder at the Hotel Agato | |
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| Cops and robbers | |
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| The embassy ball | |
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| The child's dream--what I wanted to be when I grew up | |
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| The child's fear | |
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| What grown-ups wanted me to be | |
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| The opposite of myself | |
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| The two revelations of Saint Teresa | |
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| The fighting cocks | |
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| Catchphrases | |
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| What am I? What do I want? | |
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| The blank character | |
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| The Memory of the Senses | |
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| Reconnecting memory, emotion and imagination | |
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| Memory: remembering yesterday | |
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| Memory and emotion: remembering a day in the past | |
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| Memory and emotion and imagination | |
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| Remembering an actual oppression | |
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| Rehearsal on the stage of the imagination | |
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| Extrapolation | |
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| Image Theatre | |
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| Image techniques: models and dynamisations | |
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| Image of the word: illustrating a subject with your body | |
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| Image of the word: illustrating a subject using other people's bodies | |
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| Image of transition | |
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| Multiple image of oppression | |
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| Multiple image of happiness | |
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| Image of the group | |
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| Ritual gesture | |
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| Ritual | |
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| Rituals and masks | |
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| The image of the hour | |
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| The kinetic image | |
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| The merry-go-round of images | |
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| Images of transition--the technique in action | |
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| Examples from Europe | |
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| New Image Theatre techniques: the cop in the head | |
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| Dissociation--thought, speech, action | |
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| The analytical image: the multiple mirror of how others see us | |
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| Somatisation | |
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| The circuit of rituals | |
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| The three wishes | |
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| The polyvalent image | |
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| The screen image | |
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| The image of the image | |
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| Four very simple demonstrations of embryos of Forum Theatre pieces, based on projected images | |
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| Rehearsal Exercises for any Kind of Play | |
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| Exercises with or without script | |
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| Improvisation | |
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| The dark room | |
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| One story told by several people | |
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| Change the story | |
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| One line spoken by several actors | |
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| Games of emotional dynamisation | |
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| Breaking the oppression | |
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| The oppressor's confession | |
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| Emotional warm-up exercises | |
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| Abstract emotion | |
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| Abstract emotion with animals | |
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| Abstract emotion, following the master | |
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| Animals or vegetables in emotional situations! | |
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| Ritual in which everyone becomes an animal | |
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| Stimulation of the dormant parts of ourselves | |
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| Ideological warm-up | |
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| Dedication | |
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| Reading newspapers | |
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| The evocation of historic events | |
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| Lessons | |
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| Exercises for the preparation of a Forum Theatre model or for the rehearsal of other kinds of theatre | |
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| Play to the deaf | |
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| Stop! Think! | |
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| Interrogation | |
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| The reconstruction of the crime | |
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| Analytical rehearsal of motivation | |
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| Analytical rehearsal of emotion | |
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| Analytical rehearsal of style | |
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| Opposite circumstances | |
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| Artificial pause | |
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| Self-interrogation | |
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| Opposite thought | |
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| Rehearsal of the cue | |
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| Two touches | |
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| Silence on set--Action! | |
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| Invisible characters | |
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| Before and after | |
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| Transference of emotion | |
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| Slow motion | |
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| Sensory focus | |
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| Low volume | |
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| Exaggeration | |
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| Free-style rehearsal | |
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| Reconnaissance | |
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| Caricature | |
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| Swapping characters | |
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| Need versus will | |
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| The rhythm of scenes | |
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| Rashomon | |
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| Keep talking | |
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| The ceremony | |
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| Secret whispers | |
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| I don't believe you | |
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| Long Beach telegram | |
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| Holy theatre | |
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| Analogy | |
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| The tick-tock sequence | |
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| The Early Forms of Forum Theatre | |
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| Introduction | |
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| The rules of the game | |
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| Dramaturgy | |
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| Staging | |
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| The performance game | |
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| Examples of Forum Theatre | |
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| Agrarian reform seen from a public bench | |
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| The people judge a secret policeman | |
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| Leader at work, slave in the home | |
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| The return to work at the Credit Lyonnais | |
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| The nuclear power station | |
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| Forum Theatre: Doubts and Certainties: Incorporating a New Method of Rehearsing and Devising a Forum Theatre Model | |
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| Twenty fundamental topics | |
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| Oppression or aggression? | |
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| The style of the model | |
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| Do the problems have to be urgent or not? Should they be simple or complex? | |
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| Do we have to arrive at a solution or not? | |
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| Does the model of the future action need to be depicted or not? | |
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| Model or anti-model? Error or doubt? | |
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| The conduct of the Joker | |
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| Theatricality or reflection? | |
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| The staging | |
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| The function of the warm-up | |
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| The function of the actor | |
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| The repeated scene | |
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| Macrocosm and microcosm | |
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| How to replace a character without transforming it into another | |
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| What is a 'good' oppression? | |
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| Who can replace whom? | |
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| How should a 'model' be rehearsed? | |
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| Can a forum change themes? | |
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| Can people remain 'spectators' in a Forum Theatre session? | |
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| When does a session of Theatre of the Oppressed end? | |
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| First Experiences with Invisible Theatre | |
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| Examples of Invisible Theatre | |
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| Sexual harassment | |
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| Queen Silvia's baby | |
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| Racism I: the Greek | |
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| Racism II: the black woman | |
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| Picnic in the streets of Stockholm | |
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| The audience's children | |
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| Artistic Creation and Divine Madness: a Meditation on Art and the Miraculous | |
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| Passion and art | |
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| The mad artist and the artist madman | |
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| Postscript: the Pedagogy of Fear--Theatre and the Twin Towers: an Essay After 11 September, 2001 | |