KURINGA THEATRE OF THE OPPRESSED QUALIFICATION PROGRAMME
(Group L): 5 - 16 May
(All Groups): 18 - 30 August
KURINGA Theatre of the Oppressed Qualification Programme consists of three stages:
The first stage offers theoretical and practical bases for the understanding of the Theatre of the Oppressed method as a whole and the preparation for its praxis: critical analysis and aesthetic representation of the reality. The program consists of exercises, games and techniques that constitute aesthetic strategies that allow the identification and investigation of the area of ??interest of the working group. The methodology aims to develop the contextual approach of the problems identified in order to framing the question of the group and produce its Forum Theatre play. Course I is based on the Aesthetics of the Oppressed and is structured by the dramaturgy of the Theatre of the Oppressed, using various techniques such as Image Theatre, Forum Theatre and Newspaper Theatre.
Roots and Wings I – basic concepts of the method
Forum Theatre: framing the question (first part)
IMAGE: Aesthetics of the Oppressed
Sound / Rhythm: Aesthetics of the Oppressed
WORD: Aesthetics of the Oppressed
Roots and Wings II – Dramaturgy (first part)
Contents are developed through a collective Forum-Theatre production, which is presented in a public event. The artistic production is converted into the practical application of theoretical concepts studied and into a reference matrix for the multiplication process.
5 - 16 May 2020, Group L
The second part of the qualification focuses on the praxis-kuringa of facilitating both the aesthetic process and the creation of the artistic product in the practice of the Theatre of the Oppressed with oppressed groups. The Rainbow of Desire techniques are used to explore the subjective aspects in the process of constructing the group’s question and to develop the complexity of the characters in order to avoid the Manichean representation of oppressive relations. In Course II, the participants experience all the necessary steps for the development of the praxis-kuringa, from the planning and facilitation of practical processes, to the exercise of themaieutic attitude in the dialogue with the public during Forum Theatre sessions.
Forum Theatre: framing the question (second part)
Roots and Wings II – Dramaturgy (second part)
Rainbow of Desire: the invasion of the brain
Kuringa – Maieutics Attitude
Roots and Wings III – Praxis Kuringa
Available for participants from Groups A, B, C, D, E, F, G, H, J and L
18 - 30 August 2020
Seminar (theory-practice) and Laboratory of Dramaturgy
In the Theatre of the Oppressed KURINGA Qualification Programme, multiple steps take place during the annual KURINGA Festival. The theoretical-practical seminars are spaces of reflection and exchange on the experiences of multiplication of the participants of the programme. The laboratories of dramaturgy are spaces of constructive analysis on the Forum Theatre plays presented during the Festival. The plays are analysed and discussed in order to create concrete and constructive proposals. In this way the groups and multipliers receive impulses and concrete ideas for the continuity of their work. The festival and its seminars and laboratories are open to all participants of the different KURINGA qualification courses since its beginnings in 2013. The participants of the programme improve their knowledge of the method through practical processes of analysis and production. This is the most complete stage of qualification because it allows the participants to deepen their knowledge and advance in their praxis.
KURINGA Theatre of the Oppressed Qualification Programme
is designed by Bárbara Santos, who was colleague of Augusto Boal in Brazil for two decades and has worked in the design, implementation, coordination, supervision and evaluation of training programs in several countries. The Programme in Berlin is implemented in collaboration with Christoph Leucht and Till Baumann.
The KURINGA Qualification Programme combines the theoretical deepening with practical experiences, contributing to the consistent development of the praxis of the method. This program is based on training and multiplication.
This initiative aims to produce a base for a consistent and reliable curriculum for permanent qualification courses in the Method of Theatre of the Oppressed and to stimulate the groundwork for the transformation of reality through formation of and exchange between TO community groups.
Knowledge and experience are developed through collective artistic productions, which are a practical application of the theoretical concepts, and can become a reference for the multiplication process. The programme is composed by two 12-day course periods complemented by seminars, theatrical laboratories and artistic production during annual KURINGA Forum Theatre Festival.
The KURINGA Qualification Programme and the KURINGA Festival contribute to create networks of solidarity and exchange, where TO community groups and practitioners can work together for a transformation of the reality.
Participation is open to anyone who wants to deepen their knowledge and develop a practice in Theatre of the Oppressed.
Costs: Each Course: 600EUR
Registration: kuringa at kuringa dot org
Location: KURINGA (Berlin)
Grüntaler Str. 35, 13359 Berlin-Wedding, Germany
Further information, possibilities of participation, questions of payment, please contact kuringa at kuringa.org
Often KURINGA offers single workshops in Berlin and/or in other places, which is announced in Home.
2013 - Group A
2014 - Group B
2015 - Group C
2016 - Group D
2017 - Group E
2017 - Group F
2018 - Group G
2018 - Group H
2019 - Group J
2019 - Group K
2020 - Group L
Theatre of the Oppressed
The Theatre of the Oppressed is an aesthetic method that aims to transform reality that was created by Brazilian playwright Augusto Boal. It stimulates the critical observation and the representation of reality, envisioning the production of consciousness and concrete actions. Theatre of the Oppressed proposes the elimination of the barrier between the stage and the audience to establish a free transit between the artists and the spectators, which are invited to act as subjects and producers of culture and knowledge, and to discuss concrete proposals in a playful and democratic space.