I have been lucky to have training in the theater. A mentor of mine said that getting one's play produced was worth about ten years of therapy.
You and Jennifer mention a phenomenon that I learned about called The Cop in the Head. This diagnosis comes from the brilliant Brazilian performer, writer, "theoretician" named Augusto Boal.
I have been lucky to have training in the theater. A mentor of mine said that getting one's play produced was worth about ten years of therapy.
You and Jennifer mention a phenomenon that I learned about called The Cop in the Head. This diagnosis comes from the brilliant Brazilian performer, writer, "theoretician" named Augusto Boal.
Boal taught me that theater is reality. It is not a portrayal. That's why theater is so successful at giving us a sentimental education.
From his book, The Rainbow of Desire:
"In Paris, at the beginning of the 1980s, I led a workshop which ran over a period to two years, Flic dans la Tête (The Cop in the Head). I started from the following hypothesis: The cops are in our heads, but their headquarters and barracks must be on the outside. The task was to discover how these 'cops' got into our heads, and to invent ways of dislodging them. It was an audacious proposition."
Ahhh, that Brazilian realism. Always enlightening.
I have been lucky to have training in the theater. A mentor of mine said that getting one's play produced was worth about ten years of therapy.
You and Jennifer mention a phenomenon that I learned about called The Cop in the Head. This diagnosis comes from the brilliant Brazilian performer, writer, "theoretician" named Augusto Boal.
Boal taught me that theater is reality. It is not a portrayal. That's why theater is so successful at giving us a sentimental education.
From his book, The Rainbow of Desire:
"In Paris, at the beginning of the 1980s, I led a workshop which ran over a period to two years, Flic dans la Tête (The Cop in the Head). I started from the following hypothesis: The cops are in our heads, but their headquarters and barracks must be on the outside. The task was to discover how these 'cops' got into our heads, and to invent ways of dislodging them. It was an audacious proposition."
Ahhh, that Brazilian realism. Always enlightening.
Augusto Boal! I remember using his book Games for Actors and Non-Actors to teach workshops. Good good stuff.