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Enhancing
cultural awareness and empowerment in multicultural life
Michael Wrentschur
Peter Altmann
Overview
Idea
Two separate projects, “ÖNORM“ and “Free
Mind“, were designed to examine our awareness of our own and
other cultures and to address the issues of racism and xenophobia
in everyday life. The projects aimed at allowing people develop
new forms of coexistence while becoming more sensitive to problems
which arise when different cultures meet.
Objectives
Both “ÖNORM“ and “Free Mind“ aimed
at discovering and trying out new perspectives and options for ways
of tackling "everyday racism" in a confident and constructive
manner. The projects were designed to sensitize people to encounters
between different cultures, to help them identify suitable modes
of approaching people from other backgrounds and to develop possible
ways of intervening and showing civil courage in everyday situations
of racism.
Target groups
“ÖNORM“ was aimed mainly at Austrians – both
the actors and spectators were mainly “indigenous”.
The participants in “Free Mind” were predominantly unaccompanied
children who were asylum seekers from African and Asian countries.
Their everyday lives in Austria are rife with discriminatory experiences.
The performances were attended by Austrians and immigrants.
Process
and method
Methodologically, the two projects relied chiefly on “Theatre
of the Oppressed” as developed by Augusto Boal, specifically
in his "Forum Theater" concept. Forum Theatre is a form
of politically educative participative improvisation theatre in
which the spectators can try out plot alternatives to a given scene
of conflict or oppression. The methods of "Theatre of the Oppressed"
start out from personal experiences, which are then processed and
transformed in a creative and action-oriented manner. Due to this
close-to-life approach, the experiences and insights gained in the
exploration process become available for use in everyday (intercultural)
life. Work on the “ÖNORM“ project extended over
the period from October 2000 until November 2001. The “Free
Mind” project was implemented from October 2001 until May
2002.
Contents
Both projects addressed discrimination and racism, starting from
the participants’ personal experience. Criteria deemed important
for our understanding of these phenomena included both the emotional
circumstances of individuals and existing social structures. Another
key aspect was the development of new, satisfactory alternatives
for action in an intercultural context.
“ÖNORM“
additionally dealt with the question of how a witness to discrimination
and racism can become involved and show civil courage. In the “Free
Mind” project the process of coming to terms with personal
experiences of discrimination and racism was a priority subject.
In addition it emphasised the building of the community and positive,
trusting relationships.
Success
“ÖNORM“ proved successful in identifying diverse
forms of racism. The audience discussed personal experiences as
well as their own discriminatory behaviour, fears and uncertainties.
The methods of Forum Theatre provide ample identification opportunities,
but also sufficient distance to permit deep emotional involvement
and a high degree of openness on the spectators’ part. Based
on these experiences, it was possible to develop civil courage in
a variety of discriminatory and racist situations. In addition various
action models were developed, tried out, and integrated into the
personal behaviour pattern. The form of work used during the “Free
Mind” project yielded a high degree of direct support for
people exposed to massive discrimination and racism.
Project
implementation
The “ÖNORM“ and “Free Mind“ projects
were carried out by InterACT – Werkstatt für Theater
und Soziokultur. “ÖNORM – Forum Theatre on Everyday
Racism“
Objectives
“ÖNORM“ was designed to render diverse, even subtle
forms of everyday racism and xenophobia visible and comprehensible.
The project aimed at stimulating a process of “coming to terms”
with the participants’ fear of what is different or strange
and with their inherent xenophobic traits and prejudices. The underlying
idea was to expose the potentials for conflict in intercultural
coexistence. In addition a space was to be provided in which various
forms of civil courage could be creatively developed: participants
were able to "try out" responses to everyday xenophobic
or racist acts and attitudes. Furthermore they were able to explore
ways of actively defusing escalating processes that would result
in exclusion and violence towards "foreigners". Moreover,
"ÖNORM" was intended to help develop new constructive
models of how people from different cultures can live together.
Contents
The scene was set in a supermarket in late afternoon. People were
doing their shopping. The normal course of events was disrupted
when a woman of very different appearance, wearing a yashmak, entered
the scene. The ensuing encounters revealed the uncertainties, fears,
ideologies, hidden desires and longings.
Target groups
ÖNORM was aimed chiefly at Austrians of both sexes. The underlying
idea was that "normal people" shape our normal everyday
lives and therefore bear considerable responsibility for the changes
taking place in society.
Process
The ÖNORM production was developed from October 2000 to May
2001 by Austrian actors in co-operation with immigrants, immigrant
counsellors and antiracism workers. "ÖNORM" was performed
eight times between May 2001 and November 2002. A half-day workshop
following one of the performances provided an opportunity for further
exploration of the subject. "ÖNORM" comprised several
sections, built one upon the other:
Scenic transformation
of experiences
Individual experiences of alienness, prejudices and xenophobia -
both as victims and "perpetrators" - were expressed, scenically
transformed, explored and reflected.
Exploration
of the phenomena of everyday racism
Building on previous work, diverse forms and attitudes of racism
and xenophobia were examined in detail, distilled into stock characters
and presented on stage in focused form.
Scenic development
From the interplay of roles, a Forum Theatre scene was developed
which summarised the aspects and elements of everyday racism explored
so far. Rehearsals provided an opportunity for an in-depth analysis
and discussion of the roles, which are then refined into "authentic
characters".
Performances
and dialogue
During performances, diverse options for handling racism and xenophobia
were tried out; the consequences of each course of action were perceived
and witnessed directly. Experiences were reflected upon and processed
through discussion. New perspectives were developed, and the content
viewed was transferred to the level of everyday life.
Further
development
The experience gained in the context of the performances, plus current
political events, provided an impetus to refine the play for further
productions.
Forum
Theatre
Forum Theatre is a form of political and educational participative
theatre. It provides a framework for exploring different behaviours,
alternative courses of action and strategies in a stage-performed
sequence of scenes. Oppression, power and violence are key themes
in Forum Theatre work.
A scene is presented to illustrate how social reality is perceived.
It has an unsatisfactory, unresolved ending. The audience is invited
to substitute roles which appear particularly powerless, perplexed
or oppressed. During successive performances of the scene, members
of the audience come on stage and try out the proposed solutions
to the problem or conflict on stage. The effects of their actions
are rendered transparent in the process as action and cognition
are jointly developed and reflected upon in this "dramatic
laboratory". Forum Theatre eliminates the boundary lines between
the actors and audience; spectators become participants who bear
responsibility for the dramatic events on stage. All participants
are free to comment on the presented scenes, and may avail theirselves
of the power of the word and/or plot to demonstrate what theywould
want to see changed.
Developed by Brazilian Augusto Boal Forum Theatre is one of the
methods and forms referred to as "Theatre of the Oppressed".
Methodological
elements
Living statues and improvisation theatre
Personal experiences of foreignness and prejudice are expressed
in the form of physical postures and statues, which are then processed
and placed into context. Brief extemporized passages make these
postures and images come alive. The actors thus develop an emotional
and physical relation to the subject, simultaneously tapping a source
for the further development of the play. This approach provides
an excellent peg for the exploration of the subject, expanding angles
while helping identify a diversity of connecting links. Living statue
theatre and improvisation theatre are highly suited for addressing
the present themes, even within constrained time frames.
Systemic
(stage) arrangements
Individual characters representing attitudes and aspects relevant
to the subject are arranged according to people's own internal image.
From the different spatial positions and experiences of the characters
it is possible to develop and illustrate relationships, effects
of actions, event flows and dynamics in a sensually perceivable
and visible form.
Such systemic arrangements add to our understanding of overall causal
relationships; the interrelatedness of individual positions or elements
begins to make sense in a manner not previously perceived. Working
with this method thus enables the participants to process the previously
developed aspects and attitudes of racism (and their interconnections)
into a coherent sequence of scenes.
Development
of attitudes and roles
Theatre production offers numerous methods and techniques for deepening
and transforming prior experience with given attitudes into characters
for the play. Work on the characters proceeds in the "field
of tension" between one's experience of identity and foreignness.
The actors thus gain a wealth of experience and insight into their
self in the "foreign" role and, at times, into the "foreign"
aspects of what used to be familiar. Moreover, the role development
process leads to more detailed research, exploration and discourse.
Research,
external consulting and scenic coaching
Immigrants, immigrant counsellors and antiracism activists were
involved in the development and rehearsals. They participated by
taking the stage, provided feedback on the effects of material developed
so far, contributed information and suggestions for content and
clarified and deepened the links to social reality. The role work
induces the actors to engage in more detailed research and heightens
their everyday sensibility and readiness for exploration and discourse.
Effects
and benefits
Illustrating the dynamics of exclusion and escalation
Forum Theatre is very successful in illustrating and recreating,
in an emotionally accessible manner, the interaction between individuals
and the group and the inherent dynamics of events. The power embedded
in the system never ceases to amaze, but neither does the ability
of the individual to change the system's workings so that events
will take an altogether unexpected, unplanned course.
Explaining
the complexity and contradictory nature of attitudes, views and
behaviour
The many-facetted nature of the subject, the intention and effects
of human behaviour and the gap between expectation and reality are
rendered highly evident to both the actors and the audience. Views
and attitudes are often ambiguous or inherently contradictory for
example the "curious onlooker" is torn between her fear
of foreigners and an exotically inspired, instrumentalizing curiosity.
A similar effect emerges in the role of the "saviour",
who basically views foreigners as victims who deserve our help because
they are oppressed. For all that, he defines himself via his helping
role, needs his counterpart to bolster his self-esteem, thus becoming
an agent of escalation himself. And indeed, it has been found time
and again that basically "anti-racist" or "xenophile"
behaviour can aggravate conflict situations.
Expanding
perspectives and enlarging scope for action
The development of strategies for changing the scene and solving
the conflict opens up previously unknown views and perspectives
of intercultural coexistence. This gives rise to a rich array of
alternatives for action in those roles which appear powerless, perplex
or oppressed during the scene. Interestingly, young people in particular
find it easy to take up a part and defend themselves against discriminatory
and racial words and deeds, exhibiting a lot of power and commitment
as they do so.
Developing
civil courage and promoting involvement
Successful action rehearsals in near-real-life situations stimulate
courage, create self-confidence that can be applied in reality,
and thereby increase the individual's willingness to take a stand.
Thus, Forum Theatre work promotes a "sustainable" form
of civil courage.
Enabling
high emotional involvement
Coming to terms with the subject through action rather than words
is a process that remains close to life and authentic experience.
Problems are handled against their actual emotional background.
At the same time, the spectators involvement is intense, if only
because the audience thinks and feels with the protagonists. In
addition, Forum Theatre offers very different possibilities for
participation - from discussing what one has seen and witnessed
to actually taking the stage in a production. Each of these modes
of participation provides an opportunity for thorough exploration
of the subject. Regardless of the chosen role, new perspectives
will be developedand new options for behaving in accordance with
one's own values will emerge. The result is an improved understanding
of others.
The stated objectives
- enhanced sensitivity for different cultures, development of new
perspectives and options for taking action, promotion of civil courage,
identification of suitable modes to encounter people from other
cultures - were attained to a high degree. It deserves to be noted
that the amount of time and resources which went into the project
was fairly high. On the other hand, the integration of public authorities
and other, similar institutions was not given adequate attention
at the designing stages.
To implement
a project such as ÖNORM, the following boundary conditions
are important:
The time requirement for play development and rehearsals amounts
to about 120 - 150 hours. Time and funding on this scale must be
available.
From the actors, a project of this type requires open-mindedness,
curiosity, and the personal willingness to tackle a broad range
of aspects and contradictions.
The play and project management should have ample experience with
Forum Theatre methodology. We recommend that the leading individuals
should initially attend a number of workshops as participants and
work on other projects before embarking on the managing their own
project.
Immigrant support workers and immigrant associations should be integrated
at the earliest possible stage. Performance contexts and areas to
be addressed ought to be considered and defined in advance, as early
as during project development.
Comments
on “ÖNORM“
Comments from actors:
"Acting in this play has also changed my personal attitude
towards Islam and veiled women. For one thing, you simply learn
so much more about this religion and the tradition of the chador.
This new knowledge makes you take a more differentiated view on
the subject ... The incredible Western arrogance of assuming to
know best what is good for "women" (both Muslim and in
general) was brought home to me by this play and by my acting in
it. Western behaviour is deemed "normal" and desirable,
the ultimate yardstick by which anything different is measured.
I have remained critical of the chador, but I've also learnt that
I see the subject through Western eyes and don't really have an
insight ..."
“My image of (a) different culture(s) has shifted, it has
become broader and multi-facetted, especially with regard to Islam".
“There was an enormous amount of audience input when it came
to searching for solutions, and a deep sense of gratitude for being
provided with this 'experimental space'."
“It's fairly easy to be tolerant when I'm not concerned myself,
or when tolerance becomes mere indifference."
“There has been a change in my perception, brought about specifically
by talking to self-confident Muslim women who did a great job defending
their views. Other cultures have really different standards, one
shouldn't approach them with a simplistic 1:1 attitude."
“My awareness of the problem has risen as we developed and
rehearsed the play, even with regard to our own cultural rules and
standards."
Comments
from spectators:
“I was anxious to see whether anybody would show the courage
to take a part that would turn the scene around. People were timid
at first, but their fear eventually subsided and many new aspects
emerged".
“Amazing to see how the spectators courageously took part
in the scene and co-determined its course. Some stuff was really
funny, some of it was harsh criticism, mostly it made you pause
and ponder."
“Of course there are films and other plays dealing with this
issue. The difference is that here you walk away wondering how you
can help. You don't have a guilty conscience, don't go home depressed.
I was just full of this urge to get involved."
“I had a good time, I examined much of this in my mind, and
quite a few things became suddenly clear to me. How many misunderstandings
actually shape our daily lives, and how difficult it is to change
an ongoing process even if you know exactly what your views are."
“Proving myself and finding out that there's nothing really
to fear, and sensing the resignation that often attaches to the
subject and the theme of this play - these were the key points for
me."
“What fascinated me was the openness of the audience, their
willingness to get up and join the action. Also, the pleasure of
working this out, acting in a play. Being able to try out contradictory
courses of action, without having to think of the consequences or
feel anxiety, seems to be a highly suitable means of triggering
reflection processes."
"The way they joined in a circle at the end of the event, now
that was pure genius. You were made to raise questions, understand
and reflect upon the issues - as opposed to being sent home in a
stupor, full of questions and hypotheses. You learnt about the feelings
these actors had in the various scenes. Or else, you could just
lean back and let it take effect on you."
“No right or wrong. No guilty conscience. Such performances
always have a long-term effect on me, they keep entering my memory
in bits and pieces subconsciously, and I think I'm not the only
one to feel this."
“Free
Mind - Forum Theatre with Underaged Unaccompanied Asylum Seekers“
Objectives
“Free Mind“ was designed to contribute to a group and
community building process as a basis for cultural expression and
identity development, using theatre as a tool for empowerment and
medium for the public voicing of personal concerns and interests.
The joy of acting, combined with creativity, were intended to translate
into a change in perspective; theatre performance and role development
were to facilitate the expansion of psycho-social abilities. By
trying out courses of action on stage, the participants were enabled
to develop new options for resolving everyday problems and conflicts.
Moreover, they were induced to develop responses to xenophobic and
racist acts encountered in everyday life, whether as victims or
witnesses.
Content
Racial discrimination and exclusion from (or within) the labour
market, including job search problems, emerged as the key themes
for juvenile immigrants. Another area addressed concerned xenophobic
excesses in everyday life and in public (football, shopping, disco,
tram). Language problems and communication difficulties were other
important issues to these youths.
Target group
The “Free Mind“ forum theatre project was aimed at asylum
seekers below legal age (male and female) from African and Asian
countries who were supported by the "Caritas" organization.
Process
From October 2000 until May 2001, the group members met once a week
to develop the creative shape of their everyday experiences as immigrants
in Austria. In addition, three public Forum Theatre performances
were produced.
“Free
Mind“ covered the following phases:
Group building
and play
Here the focus was placed on trust and confidence building, body
perception and expression exercises and rhythm/improvisation training.
Scenic exploration
of everyday experience
The participants' own everyday experiences as young immigrants in
Austria were transformed using the scenic methods of theatre pedagogy.
Problems, conflicts and discrimination situations were staged in
the form of images and scenes.
Development
of Forum Theatre scenes
Key themes and problems encountered by immigrants on a day-to-day
basis were processed into Forum Theatre scenes. The rehearsal work
gave rise to an in-depth exploration and development of the characters
involved and their behaviour.
Performances
and dialogue
Interactive Forum Theatre performances were used to try out and
reflect upon alternatives to the characters' on-stage behaviour.
This approach stimulated public dialogue and discourse.
Reflection
and implementation of findings
Both individual and collective reflection processes were initiated
to determine how the findings from the play-acting experience and
baseline dramatic situations might be useful in the everyday world
and could be translated into real-life behaviour.
Forum
Theatre
See above.
Methodical
elements
Physical and expression exercises based on theatre pedagogy
Trust-building games, physical and emotional expression training
and exercises aimed at improving motion and spontaneity which enabled
the young participants to have fun, come out of their shell, forget
everyday concerns and develop an enhanced sense of their body and
gestures.
Live statue
and improvisation theatre
Experiences gathered in the host country are depicted as postures
and live statues which are then refined and correlated. Brief extemporized
scenes make these postures and images come alive. These methods
give room for a scenic exploration of, and a process of "coming
to terms" with, various everyday issues and problems that are
difficult to put into words. Key experiences expressed in stage
images were those of helplessness, oppression and discrimination.
The subject was thus presented in a form permitting it to be sensually
experienced, graphically witnessed and re-lived.
Role work
Theatre work comprises a variety of methods and techniques for deepening
prior experience and translating it into characters for the plot.
This enabled the young participants to adopt roles hitherto alien
to them, and to try out what it feels like to be on the other, powerful
side for once. The role-study process also prompted participants
to project themselves into, and critically examine, specific situations
emotionally and cognitively.
Effects
and benefits / Best Practice
Offering a positive counter-reality
Play-based and dramatic physical and expression exercises enabled
the young participants to come out of their shell, have fun, forget
their day-to-day worries, and improve their sense of body and gestures.
In the difficult life situation in which these juveniles find themselves,
this positive counter-reality is of great importance. The work provided
them with meaning and a goal, as one participant phrased it: "Before
theatre we were lazy, didn't have so much to do ... It was an opportunity
for me to shed all that weight, to clear my mind."
Experiencing
a sense of unity
The Forum Theatre project became a fixture for these juveniles,
allowing them to build a group awareness, make new contacts while
strengthening existing ones. "We came from many countries,
but we were only a single country."
Experiencing
power and self-determination
The juveniles were enabled to adopt roles hitherto alien to them,
and to try out what it feels like to be on the other, powerful side
for once. The role-study process also prompted participants to project
themselves into, and critically examine, specific situations at
both the emotional and cognitive level. One participant put it thus:
"I liked the role-playing, even acting the part of the racist.
I really felt touched by this, because there are many problems here."
The performances also helped strengthen the young people's self-esteem,
encouraging them to speak up and make their point even in the face
of a crowd. "Before, like when there was a problem, I got really
withdrawn. Now I am able to really say what I think, and to say
what matters at that moment".
Speaking
out in public
Ultimately, the chance for the juveniles to make their issues public
via the medium of the performances was highly important. Metaphorically
speaking, they were provided with a mouthpiece they otherwise lacked.
As a result, most of them felt they were helping to make their situation
better understood - a conclusion borne out by the audience's active
participation. An exchange of views took place in which the spectators
gained insights into the situation of these youths while the latter
were able to discover uncertainty and ignorance on the part of the
'locals'. "If we stage this play with all the parts in it,
people can understand it well, better than if we just say it ...
I hope that people will think differently about us after seeing
the play, that the negative image will go away."
Expanding
the potential for action in discriminatory situations
From interviews conducted with the young migrants one year later
it emerged that some of them have indeed expanded their range of
responses to xenophobic or conflict-based situations. Their ability
to understand or assess social situations on the whole had improved.
"Yes, I've had one such experience where I wanted to get into
a disco with a friend and they refused to let us in. I explained
to the man that this was racism and he wasn't doing the right thing,
and I started to discuss this with him".
The objectives
of the project - group and community building, positive cultural
identity development, empowerment, expanded situation handling competence,
ability to speak out in public - were achieved to a very great extent.
This was confirmed by research conducted as part of a thesis (cf.
Nusshold 2002). In retrospect it would have been desirable to carry
on with this type of work, making it a permanent feature in the
psycho-social care of unaccompanied underaged refugees. Apart from
the above effects and benefits for participants, the following boundary
conditions were identified as essential for a project of this nature:
The theatre work must be carried out continuously over a period
of at least half a year.
The project process should be communicated to the caregiving teams,
who should be able to provide feedback,
Participation in the project must be absolutely voluntary.
During rehearsals and performances, the group must be supported
by people they know.
For their rehearsal and performance work, participants should receive
a nominal fee "to cover expenses". The amount of that
fee should be contractually defined and made contingent on actual
participation. The binding nature of the commitment will thus be
underscored, and a visible token of appreciation is created.
Participant
and spectator comments
Young refugees and support team members:
“Well, the strongest scene of them all, the one that hurt
real deep, was the one with the tramway passengers where they called
me a drug dealer. And then there was the situation where a passenger
said he wasn't going to sit down beside that negro, it's the lack
of respect you get."
“In the job search scene, or in the tram where they called
this person a drug dealer, you got interventions which were very
good and which made me feel I'd learnt a lesson."
“We have learnt very many things. I think much of it will
stay in our lives."
“Sure I found wishes expressed here, namely that everybody
is respected, that regardless of colour, everybody is equal before
the law, especially in Austria. If the Austrians show some respect
too, then I won't have any problems here either."
“The most important thing in my view, really, is that they
were able to convey something here, that they are not victims but
people with abilities." (Support team member).
Performance
spectators:
“And I was rather amazed how good these youths were, how accurately
they depicted some details. Despite the serious subject, I enjoyed
this evening enormously ... Incredible how positions can change
unintentionally. Each intervention develops its own dynamics that
you cannot escape."
“I find this form of theatre really fascinating, and the scenes
keep coming back to me. Today I often wonder how I would respond
in specific situations. What would I do? Would I keep my mouth shut,
or would I get involved?"
Contact address:
InterACT
Werkstatt für Theater und Soziokultur
Neubaugasse 94/2/4
A-8020 Graz
Phone & fax: 0043 316 720935
E-mail: office@interact-online.org
www.interact-online.org
Literature
relating to the Forum Theater and Theater of the Oppressed:
Boal, Augusto, 1989: Theater der Unterdrückten. Übungen
und Spiele für Schauspieler und Nicht-Schauspieler, Frankfurt
am Main.
Boal, Augusto 1992: Games for Actors and Non-Actors, New York.
Boal, Augusto, 1995: The Rainbow of Desire: The Boal Method of Theatre
and Therapy, New York.
Boal, Augusto, 1998: Legislative Theatre. Using Performance to make
Politics, London and New York.
Boal, Augusto, 1999: Der Regenbogen der Wünsche, Methoden aus
Theater und Thera-pie, Seelze (Velber).
Diamond, David, 1995b (1991): Theatre for Living. A Joker’s
Guide, Vancouver.
Freire, Paolo, 1982 (1970): Pädagogik der Unterdrückten.
Bildung als Praxis der Freiheit, Reinbek bei Hamburg.
Frey, Barbara, 1989: Das Theater der Unterdrückten in Europa.
(Unpublished) Master's degree thesis, Department of Communication
Sience, Freie Universität Berlin 1989.
Gail, Nöck 1999: Boal unter den ersten Völkern Kanadas,
in: Korrespondenzen, Zeitschrift für Theaterpädagogik,
No. 34, Vol.15, p.27-29.
Gipser, Dietlinde, 1996: Grenzüberschreitungen: Theater der
Unterdrückten an Hochschulen in Nah-Ost und West – Emanzipatorische
Forschungsprozesse, in: Zeitschrift für befreiende Pädagogik,
Nr. 10, Juni 1996, p. 26-31.
Koch, Gerd u.a. 1995: Theatralisierung von Lehr-Lernprozessen, Berlin.
Neuroth, Simone, 1994: Augusto Boals "Theater der Unterdrückten"
in der pädagogi-schen Praxis, Weinheim.
Nusshold, Elisabeth: “Nicht Opfer sondern Menschen mit Fähigkeiten“.
Die Methoden des „Theaters der Untderdrückten“
in der Sozialen Arbeit mit unbegleiteten, minderjährigen Flüchtlingen.
Diplomarbeit, Universität Graz 2002.
Piepel, Arnold, 1991: Handlungsmodelle für die Zukunft - das
Forumtheater, in: Ruping, Bernd. (Hg) 1991, p. 116-131.
Richter, Kurt-F., 1989: Integrative Therapie: Gestaltarbeit mit
Forumtheater. Ein Versuch, Gestaltarbeit mit den Methoden soziokultureller
Großgruppenarbeit zu verbinden, in: Gestalt und Integration.
Zeitschrift für ganzheitliche und kreative Therapie, No.2/1989-1/1990,
p.69-90.
Ruping, Bernd. (ed.), 1991: Gebraucht das Theater. Die Vorschläge
von Augusto Boal. Erfahrungen, Varianten, Kritik, Lingen-Remscheid
1991.
Scheller, Ingo, 1998: Szenisches Spiel. Handbuch für die pädagogische
Praxis, Berlin.
Schutzman Mady/ Cohen-Cruz, Jan (Ed.), 1995 (1994): Playing Boal.
Theatre, Therapy, Activism. London and New York.
Insa Sparrer, 2001: Wunder, Lösung und System. Lösungsfokussierte
Strukturaufstellungen für Therapie und Beratung, Heidelberg.
Insa Sparrer, Matthias Varga von Kibed 2001: Ganz im Gegenteil.
Tetralemmaarbeit und andere Grundformen systemischer Strukturaufstellungen,
Heidelberg.
Spolin, Viola: Improvisationstechniken für Pädagogik,
Therapie und Theater, Paderborn 1993 (1983).
Thorau, Henry 1982.: Augusto Boals Theater der Unterdrückten
in Theorie und Praxis, Rheinfelden.
Weintz, Jürgen, 1998: Theaterpädagogik und Schauspielkunst.
Ästhetische und psychosoziale Erfahrungen durch Rollenarbeit,
Butzbach-Griedel.
Wilde Bühne e.V. (ed.), 1998: Kultur vom Rande der Gesellschaft.
Aus der Praxis authentischer Theaterarbeit, Freiburg im Breisgau.
Wrentschur, Michael, 1996: Ohn(e) Macht in der Flüchtlingsarbeit?,
in: zeitschrift für befreiende pädagogik, No. 10, June
1996, p.32-35.
Wrentschur Michael/ ARGE FOUMTHEATER, 1999: Forumtheater in Österreich.
Praxis-Projekte-Gruppen, Vienna
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