Practices with music for Augusto Boal's theatrical games

Abstract

This paper is an excerpt from a doctoral research project conducted at the Universidade de São Paulo, which addressed performance practices in Music, associating them with performances developed by teachers of musical instruments, more specifically, the cello. These practices were approached from artistic and anthropological points of view. This article aims to present the ideas that constituted one of the theoretical references of the work, more precisely, the conceptions of Augusto Boal (1982; 2009) on the practices of the Theater of the Oppressed. The text also indicates 10 practical proposals collected from the author's book entitled Games for actors and no-actors (1982) and adapted for practices with music. These ideas were discussed in dialogue with the thinking of Paulo Freire, Richard Schechner and Christopher Small. As the main considerations of the work, we believe that Boal's game proposals adapted for practices with music are instruments capable of dismantling certain muscular structures related to them and enabling the construction of distinct forms of expression. We consider that such approaches are paths to a Liberating Musical Education.