Abstract
May 1985, and every theatre space in Montreal has come vibrantly alive as the Festival of the Americas brings together companies, critics, and theatre-lovers from all over the world. One of the most intriguing offerings: a “Conférence-spectacle sur le Théâtre de l’Opprimé” given by Augusto Boal and his team. The large hall at the Maison de Culture du Plateau Mont-Royal, in the heart of east-end Montreal, is packed. The crowd has settled on large cushions on the floor and is chatting away in many different languages. On stage is the “set”: some screens in the back of the acting area, percussion instruments to one side, and, in the centre, a formal-looking table complete with a carafe of water and a glass - the traditional paraphernalia of a public lecture. There is a difference, though: a closer look reveals a small goldfish swimming in the carafe, poking his nose at the audience through the glass. This is our first glimpse of Boal’s whimsical mix of reality and theatricality. We are intrigued.
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