Traditional forms of rustic folk theatre offer rich opportunities for enabling contemporary theatre-makers to devise performances that use the satiric aesthetic of the carnivalesque to explore the social themes that animate the conversations of ordinary citizens in their local pubs. Paulo Freire's conceptualisation of the conscientizão process provides a new model for guiding dramaturgical research that is conducted with the intention of creating and presenting original entertainments amongst site-specific popular audiences. This paper demonstrates how the processual phases of the conscientizão process encourage the same 'points of process' that Baz Kershaw identifies as the 'four main characteristics of the radical in performance'.
|Number of pages||19|
|Journal||Applied Theatre Researcher|
|Publication status||Published - 2008|