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Games for Actors and Non-Actors

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ISBN-10: 0415267080

ISBN-13: 9780415267083

Edition: 2nd 2003 (Revised)

Authors: Augusto Boal, Adrian Jackson

List price: $65.95
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Games for Actors and Non-Actorsis a unique piece of writing. Boal's Methods transform theatre into a democratic arena where the spectator becomes the `spectactor', contributing ideas, taking over roles, and using theatre to confront problems such as sexual harrassment, poor pay, homophobia, and racism. For this first translation into English, Boal has included fresh material to make it the most up-to-date introduction to the techniques of Image Theatre and Forum Theatre available.Games for Actors and Non-Actorsis a valuable handbook of methods, techniques, games, and exercises, and is a genuinely inspiring work by the world-famous author ofTheatre of the Oppressed. It is designed to help…    
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Book details

List price: $65.95
Edition: 2nd
Copyright year: 2003
Publisher: Routledge
Publication date: 10/25/2002
Binding: Paperback
Pages: 336
Size: 6.75" wide x 9.50" long x 0.75" tall
Weight: 1.936
Language: English

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