2026-05-23T01:02:25Zhttps://keep.lib.asu.edu/oai/request

oai:keep.lib.asu.edu:node-1309782024-12-18T20:58:30Zoai_pmh:alloai_pmh:repo_items

130978 https://hdl.handle.net/2286/R.I.62466 http://rightsstatements.org/vocab/InC/1.0/ 2020-12 25 pages eng Moore, Daniel Elijah McAvoy, Mary Hunt, Kristin School of Music, Dance and Theatre Department of Physics Barrett, The Honors College Text Theatre for social change, or more generally, theatre that addresses political issues in a community, often leans on participation as a way of democratizing the theatrical space and opening the conversational floor to more than just the traditional creative team. In practice, participatory theatre nonetheless can and has been used as a tool of propaganda rather than a tool for democratic social change. These seemingly-incompatible applications of participation in political theatre present a problem for those who want to use it: what versions of participatory theatre provide a space for other voices, and what versions of participatory theatre ostensibly appear to, but ultimately only function as tools to justify an ideology? To explore this question I examine a common form of participatory theatre: interactive theatrical trials. Specifically, I analyze the agitation trials of post-revolutionary and early Soviet Russia using Augusto Boal's frameworks from his devlopment of Theatre of the Oppressed. Theatre Literary Analysis Soviet Propaganda Boal Liberation or Propaganda: Transhistorical and Transcultural Applications of Participatory Theatre