DE P AR T M ENT O F M U SI C AN D P E RF O RM IN G ART S P RO F E S SI O NS
Program in Educational Theatre
82 Washington Square East
Pless Hall, 2nd Floor Annex, 223
New York, New York
Coping with Conflict: Drama as a Catalyst for Social Awareness MPAET-GE 2978
Thursdays 8:35 pm – 10:15 pm, 194 Mercer Street, Room 306
Instructor: Alexander Santiago-Jirau, [email protected], (973) 902-9175
Office Hours: By appointment only
COURSE DESCRIPTION:
This course explores how theatre practitioners and educators use theatre to address social and political
conflict across diversity of contexts, issues and locations, and within both traditional and non-traditional
settings. The first part of the course focuses on the work of playwrights, directors, and theatre innovators
to present political ideas, develop social awareness and challenge oppressive systems. The second part
of the course concentrates on the work of community-based artists and educators who, within their
specific contexts, transform and create new theatre techniques as a way of addressing, managing and
transforming conflict. Our aim is to consider the following central questions: How might theatre intervene
in violent conflict at different political and social levels? When does participatory theatre mediate more
just futures, and when might it preserve inequities? The course includes readings that address the role of
theatre within the frameworks of social and political oppression, revolution, torture and disappearance,
class structures, school violence, gender, and sexuality. Equal time is dedicated to exploring theory,
plays, case studies, practical techniques, and dramatic activities.
COURSE OBJECTIVES:
•
Students will examine some of the theoretical literature in the areas of political theatre, theatre for
social change, facilitation and drama for conflict transformation
•
Students will examine the work of playwrights using the stage to highlight political/social conflict
and to develop societal awareness
•
Students will work collaboratively to unpack and examine the role of theatre artists and educators
in society
•
Students will interrogate their notions of oppression, privilege, conflict, power, violence and justice
•
Students will consider relationships, contrasts, parallels, and intersections among various cultural
and political groups in the global society
•
Students will reflect and analyze their role as theatre practitioners/educators and facilitators in the
face of social and political conflict
•
Students will examine several drama techniques designed to develop social awareness and
challenge oppressive systems
•
Students will engage with several drama techniques designed to address conflict management in
schools and applied theatre settings
•
Students will work collaboratively to develop lesson plans/mini-workshops for diverse constituents
in both traditional and non-traditional pedagogical settings to address issues related to social
and/or political conflict
•
Students will work collaboratively to create instructional materials that reflect how educational
theatre can be infused into the curriculum or non-traditional pedagogical settings to address
conflict
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REQUIRED TEXTS:
Brecht, B. (1995). Mother courage and her children. New York, NY: Samuel French.
Gambaro, G. (1992). Information for foreigners. Evanston, Il: Northwestern University Press.
Rohd, M. (1998). Theatre for conflict, community & dialogue: The hope is vital manual. Portsmouth, NH:
Heinemann.
Sternberg, P. (1998). Theatre for conflict resolution: In the classroom and beyond. Portsmouth, NH:
Heinemann.
NOTE: These titles will be available at the NYU Bookstore, and can be ordered through online
booksellers. Additional handouts and links to web-based publications will be provided on
Blackboard by the Instructor throughout the semester.
RECOMMENDED TEXTS:
Baim, C. et al (Eds.). (2002). The geese theatre handbook: Drama with offenders and people at risk.
London, UK: Waterside Press.
Boal, A. (1992). Games for actors and non-actors. New York, NY: Routledge
Mandell, J. and Wolf, J. (2003). Acting, learning, and change: Creating original plays with adolescents.
Portsmouth, NH: Heinemann.
McCarthy, J. et al (2004). Enacting participatory development: Theatre-based techniques. London &
Sterling, VA: Earthscan.
Neelands, J. and Goode, T. (Eds.). (2000). Structuring drama work: A handbook of available forms in
theatre and drama. Cambridge, UK: Cambridge University Press.
Swearer, S. M., et al (2009). Bullying prevention and intervention: Realistic strategies for schools. New
York, NY: The Guilford Press.
ASSIGNMENTS:
Class Attendance and Participation – 15% of Grade
Class participation will be evaluated on meaningful participation and preparedness. Students should
thoroughly read all assigned readings in order to actively discuss them. Students are expected to attend
all sessions. More than one unexcused absence will lower a student’s participation grade. Excused
absences must be cleared with the instructor prior to the class meeting and emergency absences must
be reported as soon as possible. Some of the material covered in this course will be controversial and as
a result, disagreements in our classroom community are to be expected. However, disrespect will not be
tolerated. Please keep this in mind when formulating your responses both verbally in class and in written
form on Blackboard. This area is assessed quantitatively.
**Note on Attendance
This course depends on the thorough preparation, active participation and inquiry of each of its members.
In addition to missing a substantial amount of material and information if absent from class, you are
depriving yourself of the insights you will gain from the contributions of others and are depriving others in
the room of your contributions.
**Note on Meaningful Participation and Preparedness
This means that a student shows evidence of having read/engaged fully with the material being
discussed, including preliminary reflection, interpretation and analysis. Moreover, the student participates
actively in discussions and exercises by asking and posing questions in direct connection to the material
being discussed.
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Initial Reflection on Conflict – 10% of Grade
This assignment seeks to have students reflect on their own histories and their experiences with conflict
as theatre practitioners and educators. This critical reflection should examine the following questions:
• How do you define conflict both at the societal and political levels?
• In your opinion, what are the current major social and political conflicts? What issues do you
identify with or are passionate about? What is your experience working with these issues or
facilitating workshops in these areas?
• In your view, should theatre artists and educators address societal and political conflict? If so,
how?
• What works of art (i.e. plays, poetry, films, fine art, music or books) highlighting issues of conflict
have you studied or are drawn to?
• How do you respond to conflict or have responded to moments of personal and public conflict?
Do you have any anecdotes you can share about your experiences as an artist, educator,
teaching artist or activist? Any nightmare moments as a facilitator? How did you handle the
moment/s or wish you had handled the moment/s in retrospect?
• What skills or knowledge do you feel you still need to become an effective facilitator, artist, or
educator in moments of conflict?
This reflection should be 3-5 pages in length (Times New Roman, double-spaced, 12pt. font, 1" margins).
Assessed in regards to writing and critical reflection. Due September 22 through the assignment tab
on Blackboard.
Blackboard Discussion and Critical Response Papers – 15% of Grade
At the end of each class session we will collect a set of questions and/or topics for further discussion and
analysis. The instructor will synthesize and post the questions on Blackboard. All students will be
responsible for continuing the conversation throughout the week by responding to any and all of the
questions/topics. Two times during the semester students will choose one of the weekly questions/topics
to write a fuller critical response demonstrating depth of analysis for the selected theme.
Grading criteria for the Critical Response Paper include:
• Must be at least 1-2 pages in length (Times New Roman, double-spaced, 12pt. font, 1" margins)
• Must address the topic/question through a critical analysis
• Must cite outside sources and class readings when relevant
Assessed in regards to originality, creativity, and critical analysis, and all criteria listed above must be
reflected. Due October 6 and October 27 through the assignment tab on Blackboard.
Informational Interview – 20% of Grade
In order to help provide a better understanding of the opportunities and challenges of theatre scholars
and practitioners, each student will be responsible for conducting an informational interview with at least
one practitioner/scholar working in the intersection of theatre and conflict. The interview can focus on an
individual(s) who is/are working at various levels (individual, community, etc) and through a variety of
social and political issues. The interview can focus on what type of work the individual/s is/are
responsible for, what processes and theories guide the work, who are the mentors, what is the philosophy
of the organization, and what are the challenges/benefits of working in the field. A reflective paper of 6-8
pages (Times New Roman, double-spaced, 12pt. font, 1" margins) summarizing the interview, connecting
it to class readings, and questions related to practice will be due. Students will conduct short
presentations of their interviews. Assessed in regards to writing and critical reflection. Due November
10 through the assignment tab on Blackboard.
Co-Facilitated Mini-Lessons – 20% of Grade
• Students will work in groups of two to select a theme on conflict management and co-facilitate a
drama-based mini-lesson
• Groups will determine how to present the theme to the class and will facilitate a 25-minute lesson
during one of the last three class sessions.
• Essential elements to be included in the presentations:
One warm-up/opening activity to be facilitated with class participants
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One interactive dramatic activity to be facilitated with class participants
Informational handout based on the group’s theme
Talking points to engage the class in discussion regarding important issues
addressed in the lesson
This assignment is an exercise in developing positive group dynamics with people who may have
different teaching and learning styles than you do. Please be respectful of each other as educators.
Compromise will be a crucial aspect of successfully completing this assignment. Assessed in regards to
originality, creativity, and effective use of the 25-minute timeframe for the presentation, and all criteria
listed above must be included. All groups must submit a lesson outline to the instructor before the
session begins. The lessons will take place on November 17, December 1 and 8.
NOTE: This year our class has been invited to facilitate workshops with a One Year Suspension Program
School in the Bronx serving middle and high school students. These are students not that different from
other NYC at risk youth, except they are in the program because they have acted out in an inappropriate
manner and…got caught! Interested and available NYU students will work with Jim Sabo, the full-time
Film & Dramatic Arts Instructor, to develop a lesson plan which they will facilitate in his classroom
between October 17-December 8. This lesson could be the on the topic of the Mini-Lesson you will
facilitate in class. While you will only be graded and receive credit for your in-class demonstration, I
highly encourage everyone to take advantage of this opportunity in the field and work with this youth
population. Jim will be visiting our class in early October to share more about the youth and the school.
Creative Final Project – 20% of Grade
In order to gain practical experience, students must create their own arts-based final project exploring an
aspect of theatre and conflict. Students may choose a variety of approaches (such as playwriting,
interview, curriculum design, workshop design, narrative, film and others). For example, a student
interested in refugees and conflict might write a short theatre piece or develop a workshop using current
media or artwork on the subject.
Students will be required to briefly present on an aspect of their project and their progress to the class
towards the end of the semester. If you are having difficulty identifying a theme or project, please consult
with the instructor for guidance. Assessed in regards to originality, creativity, and critical reflection. Due
no later than 5:00pm on December 19 through the assignment tab on Blackboard.
COURSE POLICIES:
Grading Scale
93% and up: A
90-92%: A88-89%: B+
83-87%: B
80-82%: B-
78-79%: C+
73-77%: C
70-72%: C68-69%: D+
63-67%: D
62% and less: F
Email and Blackboard
Each participant must have an active NYU email account checked on a regular basis. This is the easiest
way for the instructor to communicate with you regarding last minute changes and for you to contact the
instructor regarding questions and concerns about the coursework. I will also establish a Blackboard
account for the course, and I will use this for communication and to post important documents related to
the course.
Written Assignments
Any written work submitted for this class must be saved in a Word document format with the student’s last
name in the saved title of the document and submitted via e-mail – hard copies will not be accepted. The
track changes function will be used to give students feedback on their work. If you are not familiar with
this Word function you are required to research the function through class members or the NYU computer
labs.
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Do You Have Any Particular Needs?
Please let me know if there is anything I should be aware of regarding you and a particular need or
characteristic, such as a medical condition, an early pregnancy, a sensory or hidden disability, etc. that
may influence our interactions, your participation, or your personal well-being. I want to make the course
as inclusive as possible, so I’d appreciate your communication to keep me informed about you. This
disclosure is optional.
Any student attending NYU who needs an accommodation due to a chronic, psychological, visual,
mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the Moses Center for
Students with Disabilities at 212-998-4980, 726 Broadway, 2nd Floor, www.nyu.edu/csd.
Open Door Policy
It is my every intention to create a safe environment and a comfortable learning community for everyone
in the class. If at any time you feel unsafe or uncomfortable, please feel free to address these issues with
me. I would suggest setting up a time to speak with me. Please send an email with possible times that
might work for you, and we’ll make an appointment.
Academic Honesty
You are responsible for knowing the University’s issued standards of academic integrity outlined in the
student handbook. While the nature of this course demands that you discuss ideas and opinions with
fellow participants, your writing and other individual work must be something that you do on your own. If
this is unclear now or later in the semester, please make it a point to meet with me. You can find the
school’s policy in the Course Documents section of the Blackboard.
Safe Environment
In this course every learning community member has the right to exercise the "power of the egress.”
Simply stated, if at any given moment any individual is not 100% comfortable with an exercise or wishes
to step out of an exercise, activity, or dialogue, that person may inform the community that they wish to
observe at that time and that person will not be forced to participate. An individual does not need to give
reasons or an explanation. This is a liberal policy and is employed to foster a safe learning environment.
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COURSE SCHEDULE (Subject to Change):
Unit 1: Theatre and Political Awareness
DATE
Week 1:
September 8
DUE
TOPIC
Introduction to the Course
• Course overview and syllabus review
• Expectations and assignments
• Community-building activity
• Defining conflict
Readings for Week 2:
• Augusto Boal: “Human Beings, a Passion and a Platform: The ‘Aesthetic Space’” in The Rainbow
of Desire, pp. 16-29 (Blackboard)
• Mother Courage and Her Children by Bertolt Brecht
• John Willett: “Brecht on Theatre” in The Applied Theatre Reader by Tim Prentki and Sheila
Preston (Eds.) (Blackboard)
Week 2:
Framing Political Theatre
September 15
• Brecht’s Epic Theatre
• Defining the “political” in political theatre
• Style and context in political work
Readings for Week 3:
• Night of the Assassins by José Triana (Blackboard)
• Diana Taylor: “Theatre and Revolution: José Triana ” in Theatre of Crisis: Drama and Politics in
Latin America (Blackboard)
Week 3:
Initial Reflection on
Theatre of Revolution
September 22 Conflict
• The role of theatre in social and political revolution
• Reading against the grain
• Examining the role of the theatre artist in the face
of political persecution: The Cuban Revolution
Readings for Week 4:
• Augusto Boal: “Memory and the Torture Chamber” in Legislative Theatre (Blackboard)
• Information for Foreigners by Griselda Gambaro
• Diana Taylor: “Percepticide” in Disappearing Acts: Spectacles of Gender and Nationalism in
Argentina’s “Dirty War” (Blackboard)
Week 4:
Terrorism, Torture, Disappearance and Theatre
September 29
• The theatricality of terrorism
• Examining the role of the theatre artist in the face
of political persecution continued: Argentina’s Dirty
War
Readings for Week 5:
• Yolanda Broyles-González: “From El Teatro Campesino and the Mexican Popular Performance
Tradition,” in Radical Street Performance: An International Anthology, by Jan Cohen-Cruz (Ed.)
(Blackboard)
• Jorge Huerta: Chapter 1 in Chicano Theatre Themes and Forms (Blackboard)
• Luis Valdez: Las dos caras del patroncito (Blackboard)
Week 5:
Critical Response 1
Organizing Labor: The Chicano Theatre Movement
October 6
• Looking at the origins and work of El Teatro
Campesino (ETC)
• The Acto and its role in labor organizing
• Exploring ETC’s aesthetic and techniques
Page 6 of 10
Unit 2: Transformed and Transformative Interventions
Readings for Week 6:
• Chen Alon: “Non-Violent Struggle as Reconciliation Combatants for Peace: Palestinian and Israeli
Polarized Theatre of the Oppressed” in “Come Closer”: Critical Perspectives in the Theatre of the
Oppressed, by Toby Emert and Ellie (Eds.) (Blackboard).
• Augusto Boal: Chapter 4 in Theatre of the Oppressed (Blackboard)
• Marc Weinblatt: “Theatre of the Oppressor: Working with Privilege Toward Social Justice” in
“Come Closer”: Critical Perspectives in the Theatre of the Oppressed, by Toby Emert and Ellie
Friedland (Eds.) (Blackboard).
Recommended Reading:
• Frances Babbage: Chapter 2 in Augusto Boal (Blackboard)
Week 6:
Revolutionary Theatre: Theatre of the Oppressed
October 13
• Understanding Boal’s theoretical proposals
• Transformed and transforming Theatre of the
Oppressed practices:
- “Theatre of the Oppressor”: Working with
antagonists to negotiate conflict
- “Polarized Forum”
Readings for Week 7:
• John O’Toole: “Acting Against Conflict and Bullying: The Brisbane DRACON Project 1996–
2004—Emergent Findings and Outcomes” in Research in Drama Education (Blackboard)
• Johnny Saldaña: “Exploring the Stigmatized Child through Theatre of the Oppressed Techniques”
in Youth and Theatre of the Oppressed, by Petter Duffy and Elinor Vettraino (Eds.) (Blackboard)
• Patricia Sternberg: Theatre for Conflict Resolution: In the Classroom and Beyond, pp.xii-72
Recommended Reading:
• Cootie Shots: Theatrical Inoculations Against Bigotry by Norma Bowles with Mark E. Rosenthal
(Eds.) (Blackboard)
• Susan Swearer et al: Chapter 1 in Bullying Prevention and Intervention: Realistic Strategies for
Schools, pp. 1-14 (Blackboard)
Week 7:
Confronting Conflict, Bullying and Harassment at
October 20
School
• Unpacking bullying in schools
• Using drama for conflict management in schools
• Theatre of the Oppressed with youth
Readings for Week 8:
• Jennifer Chapman: “The Theatre Kids: Heteronormativity and High School Theatre. Youth
Theatre Journal (Blackboard)
• Elizabeth J. Meyer: Gender, Bullying and Harassment: Strategies to End Sexism and
Homophobia in Schools, pp. 1-37 (Blackboard)
• S. Leigh Thompson & Alexander Santiago-Jirau: “Performing Truth: Queer Youth and the
Transformative Power of Theatre of the Oppressed” in “Come Closer”: Critical Perspectives in the
Theatre of the Oppressed, by Toby Emert and Ellie Friedland (Eds.) (Blackboard).
Recommended Readings:
• GLSEN: 2009 National School Climate Survey: The Experiences of Lesbian, Gay, Bisexual and
Transgender Youth in our Nation’s Schools (Executive Summary-Blackboard)
• Elizabeth J. Meyer: Gender, Bullying and Harassment: Strategies to End Sexism and
Homophobia in Schools, pp. 62-81 and 83-87.
• Ritch Savin-Williams: The New Gay Teenager, pp. 1-22 (Blackboard)
Week 8:
Critical Response 2
Confronting Conflict, Bullying and Harassment at
October 27
School Continued: A Queer Youth Perspective
• Understanding gendered harassment at school
• Understanding queer youth issues
• Theatre with queer youth in applied settings
Page 7 of 10
Readings due for Week 9:
• Chen Alon et al: “Viewpoints on Israeli-Palestinian Theatrical Encounters” in Youth and Theatre of
the Oppressed, by Petter Duffy and Elinor Vettraino (Eds.) (Blackboard)
• Sonja Arsham Kuftinec: “Violent Reformations: Image Theatre with Youth in Conflict Regions” in
Violence Performed: Local Roots and Global Routes of Conflict, by Patrick Anderson and Jisha
Menon (Eds.) (Blackboard)
• Michael Rohd: Theatre for Community Conflict and Dialogue, pp. ix-8 and 112-137
• View documentary Arna’s Children
Week 9:
Creative Final Project
Theatre Facilitation in Conflict Regions
November 3
Brief Presentation
• Exploring techniques for conflict transformation
• Working with youth in conflict regions
• Case Study: Israeli-Palestinian Conflict
Readings for Week 10:
• Jan Mandell and Jennifer Wolf: Chapter 3 in Acting, Learning & Change: Creating Original Plays
with Adolescents (Blackboard)
• Patricia Sternberg: Theatre for Conflict Resolution: In the Classroom and Beyond, pp. 73-81, 112154.
Recommended Reading:
• Augusto Boal: “Newspaper Theatre” in Legislative Theatre, pp. 234-248 (Blackboard)
Week 10:
Informational Interview
Devising Performance for Conflict Transformation
November 10
• Creating plays with young people
• Exploring effective devising techniques
• Exploring Newspaper Theatre as a devising tool
Readings for Week 11: No readings for this week!
Week 11:
Mini-Lesson Outline
Final Group Presentations
November 17
• Teams will lead mini-lessons
Readings for Week 12: No readings for this week!
November 24: Thanksgiving Break-No Class!
Week 12:
Mini-Lesson Outline
Final Group Presentations
December 1
• Teams will lead mini-lessons
Readings for Week 13: No readings for this week!
Week 13:
Mini-Lesson Outline
Final Group Presentation
December 8
• Teams will lead mini-lessons
Week 14
Final Reflection
December 15
• Take-aways
• Student evaluations
Page 8 of 10
COURSE BIBLIOGRAPHY:
Alon, C. (2011). Non-violent struggle as reconciliation combatants for peace: Palestinian and Israeli
polarized theatre of the oppressed. In Toby Emert and Ellie Friedland (Eds.) “Come closer”:
Critical perspectives in the theatre of the oppressed (pp. 161-172). New York, NY: Peter Lang.
Alon, C. et al (2010). Viewpoints on Israeli-Palestinian theatrical encounters. In Petter Duffy and Elinor
Vettraino (Eds.), Youth and theatre of the oppressed (pp. 82-95). New York, NY: Palgrave
Macmillan.
Babbage, F. (2004). Augusto Boal. New York, NY: Routledge.
Baim, C. et al (Eds.). (2002). The geese theatre handbook: Drama with offenders and people at risk.
London, UK: Waterside Press.
Boal, A. (1979). Theatre of the oppressed. New York, NY: Theatre Communications Group.
(1992). Games for actors and non-actors. London and New York: Routledge
(1995). The rainbow of desire: The Boal method of theatre and therapy. London and New York:
Routledge
(1998). Legislative theatre: Using performance to make politics. London and New York: Routledge.
Bowles, N. and Rosenthal, M. E. (Eds.) (2009). Cootie shots: Theatrical inoculations against bigotry. San
Francisco, CA: YouthAware Educational Theatre
Brecht, B. (1955). Mother courage and her children. Translated by Eric Bentley. New York, NY: Samuel
French.
Broyles-González, B. (1998). From El Teatro Campesino and the Mexican popular performance tradition.
In Jan Cohen-Cruz (Ed.), Radical street performance, (pp. 245-254) New York, NY: Routledge.
Chapman, J. (2007). The theatre kids: Heteronormativity and high school theatre. Youth Theatre
Journal, 21, 31-40.
Gambaro, G. (1992). Information for foreigners. Evanston, Il: Northwestern University Press.
Huerta, J. (1982): Chicano theater: Themes and forms. Arizona: Bilingual Review Press.
Kosciw, J. G., Greytak, E. A., Diaz, E. M., and Bartkiewicz, M. J. (2010). The 2009 National School
Climate Survey: The experiences of lesbian, gay, bisexual and transgender youth in our nation’s
schools. New York: GLSEN.
Kuftinec, S. (2009). Violent reformations: Image theatre with youth in conflict regions. In Patrick Anderson
and Jisha Menon (Eds.), Violence performed: Local roots and global routes of conflict (pp. 223241) . New York, NY: Palgrave Macmillan.
Mandell, J. and Wolf, J. (2003). Acting, learning, and change: Creating original plays with adolescents.
Portsmouth, NH: Heinemann.
Meyer, E. J. (2009). Gender, bullying and harassment: Strategies to end sexism and homophobia in
schools. New York, NY: Teacher’s College Press.
McCarthy, J. (2004). Enacting participatory development: Theatre-based techniques. London & Sterling,
VA: Earthscan.
Neelands, J. and Goode, T. (Eds.). (2000). Structuring drama work: A handbook of available forms in
theatre and drama. Cambridge, UK: Cambridge University Press.
Page 9 of 10
O’Toole, J. and Burton, B. Acting against conflict and bullying: The Brisbane DRACON project 1996–
2004—emergent findings and outcomes. In Research in Drama Education, 10(3), 269-283.
Rohd, M. (1998). Theatre for conflict, community & dialogue: The hope is vital manual. Portsmouth, NH:
Heinemann.
Saldaña, J. (2010). Exploring the stigmatized child through theatre of the oppressed techniques. In Petter
Duffy and Elinor Vettraino (Eds.), Youth and theatre of the oppressed (pp. 45-62). New York, NY:
Palgrave Macmillan.
Savin-Williams, R. (2005). The new gay teenager. Cambridge, MA: Harvard University Press.
Sternberg, P. (1998). Theatre for conflict resolution: In the classroom and beyond. Portsmouth, NH:
Heinemann.
Swearer, S. M., et al (2009). Bullying prevention and intervention: Realistic strategies for schools. New
York, NY: The Guilford Press.
Taylor, D. (1991). Theatre of crisis: Drama and politics in Latin America. Lexington, KY: The University
Press of Kentucky.
(1997). Disappearing acts: Spectacles of gender and nationalism in Argentina’s “Dirty War.”
Durham, NC: Duke University Press.
Thompson, L. and Santiago-Jirau, A. (2011). Performing truth: Queer youth and the transformative Power
of theatre of the oppressed. In Toby Emert and Ellie Friedland (Eds.) “Come closer”: Critical
perspectives in the theatre of the oppressed (pp. 97-108). New York, NY: Peter Lang
Triana, J. (2008). Night of the Assassins. In D. Taylor, & S. J. Townsend (Eds.), Stages of conflict: A
critical anthology of Latin American theater and performance (pp. 196-219). Ann Arbor, Michigan:
University of Michigan Press.
Weinblatt, M. (2011). Theatre of the oppressor: Working with privilege toward social justice. In Toby
Emert and Ellie Friedland (Eds.) “Come closer”: Critical perspectives in the theatre of the
oppressed (pp. 21-31). New York, NY: Peter Lang.
Willett, J. (2009). Brecht on theatre. In Tim Prentki and Sheila Preston (Eds.), The applied theatre reader
(pp. 28-32). London and New York: Routledge.
Valdez, L. (1990). Luis Valdez early works: Actos, bernabe and pensamiento serpentino. Arte Publico
Press.
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