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Augusto Boal The project used a key element in shaping the sign teatrocomo social ideology. Every individual, according to Althusser, is subject to a Machine Ideológico.Este regulates its artistic production depending on the "field of power" that is. The theater serves as a game. The stage play has rules in a structured manner showing the surrounding reality. The child plays the society through the game. Their social function is made to the rules of that. If male, must have certain fees that are observed in the traditional game of a society. The child must acquire a certain pattern "maternal" imposed by the community in which it operates. The children's game has, as one of its objectives, teaching the social roles of its participants. The "awareness" is in them. There is a "passive awareness." The children make their acting change over and over again, in the social role they like, because I have taught adults as well. The Theatre of the Oppressed offers, like the game, one vision "regulated" society. Children's play differs in several respects. The most remarkable is the idea of \u200b\u200btransformation. The children play to learn their social function. Invisible theater instilled, as Boal, a desire for change in its participants. The "popular theater" was known for Boal: "At first, theater was singing dithyrambic: the free people singing outside.'s Carnival. The party" (p. 13). The elements of this theater were taken to attack an ideology, but to what extent they do it?. The actors or "players" Theatre of the Oppressed represented their wishes in the theater forums, but there would come such representations or be transformed into the "safety valve" of the participants?. The Theatre of the Oppressed, in my opinion, very experimental. Question the parameters of the theatricality of the show. The reason for this "experimentation" can be caused by the resignation aware that Aristotle makes Boal theater, which is the foundation of Western theatrical theories. Transforming the world through theater has, perhaps, a Latin American tradition in "Indian theater." Theatre of the Oppressed
taught as children's play, which should be right. The "public" can be transmitted it desires. These belong to the aspirations of a society. In the game, the child develops his world from social standards queh observed. The adult has also increased concerns games born by the community rules. Games sublimate violence "aggressive instincts" that the individual can not express. Those have the role of "safety valve."
Boal's political activity was interesting for the study, performed in that quality ideological theater. However, we can raise the siguientepregunta: the product of his plays was revolutionary?. The Theatre of the Oppressed was only occasionally truly revolutionary. The "reformist" was one of the common aspirations of the participants. The man, who ate and then did not pay, he wanted to be like the owner. The factory workers who "exploited" its employees chose a union as the best answer. The Theatre of the Oppressed wanted to be revolutionary, but "the public" participant was not. Their aspirations were focused on the "reform." The theater "experimental" Boal did not have that social element, perhaps. Why did not achieve its objective level, political. Ideological Apparatus, in Althusser's terms, even control solutions "public."

Bibliography:

Althusser, Louis (1970) Ideology, Ideological State Apparatuses. Library Synthesis.

Boal, Augusto (1980) Oprimido1 Theatre. Editorial Nueva Imagen, Mexico.

VIDAL, Javier (1997) Set in contemporary American drama. CELCIT, Caracas.


Anabella Rodriguez Caracas, Venezuela (Research)