. . "Forum theatre is a type of theatre created by the innovative and influential practitioner Augusto Boal as part of what he calls his \"Theatre of the Oppressed.\" Boal created Forum theatre as a forum for teaching people how to change their world. While practicing earlier in his career, Boal would apply 'simultaneous dramaturgy'. In this process the actors or audience members could stop a performance, often a short scene in which a character was being oppressed in some way. The audience would suggest different actions for the actors to carry out on-stage in an attempt to change the outcome of what they were seeing. This was an attempt to undo the traditional actor partition and bring audience members into the performance, to have an input into the dramatic action they were watching. In 2006 it has been recorded as the most used way to help new people in the theatre.[citation needed]"@en . . . . . . "Zakladatelem \u017E\u00E1nru divadlo f\u00F3rum je Augusto Boal. P\u016Fvodn\u011B vystudoval chemii. Pozd\u011Bji se za\u010Dal nejprve amat\u00E9rsky, posl\u00E9ze systematicky v\u011Bnovat divadlu. Jeho v\u011Bdeck\u00E1 st\u00E1\u017E ve Spojen\u00FDch st\u00E1tech byla z\u00E1st\u011Brkou pro jeho dramatick\u00E9 aktivity v New Yorku. Po n\u00E1vratu do Braz\u00EDlie se Boal zam\u011B\u0159il p\u0159edev\u0161\u00EDm na politick\u00E1 t\u00E9mata a vyhled\u00E1val publikum v soci\u00E1ln\u011B slab\u00FDch skupin\u00E1ch. Po jednom vystoupen\u00ED se siln\u011B revolu\u010Dn\u00EDm t\u00F3nem byl vyzv\u00E1n jedn\u00EDm vesni\u010Danem, aby se p\u0159ipojil k ozbrojen\u00E9mu odporu."@cs . "Forum theatre is a type of theatre created by the innovative and influential practitioner Augusto Boal as part of what he calls his \"Theatre of the Oppressed.\" Boal created Forum theatre as a forum for teaching people how to change their world. While practicing earlier in his career, Boal would apply 'simultaneous dramaturgy'. In this process the actors or audience members could stop a performance, often a short scene in which a character was being oppressed in some way."@en . . . . . . . "2491"^^ . "Divadlo f\u00F3rum"@cs . . . . "19"^^ . . . . "33759"^^ . . . . . . . . . . . "108192307"^^ . . . . "Le th\u00E9\u00E2tre forum est une technique de th\u00E9\u00E2tre, mise au point dans les ann\u00E9es 1960 par l'homme de th\u00E9\u00E2tre br\u00E9silien Augusto Boal, dans les favelas de S\u00E3o Paulo. Le th\u00E9\u00E2tre forum est une des formes du th\u00E9\u00E2tre de l'opprim\u00E9.Le principe en est que les com\u00E9diens improvisent puis fixent une fable de 15 \u00E0 20 minutes sur des th\u00E8mes illustrant des situations d'oppression ou des sujets probl\u00E9matiques de la r\u00E9alit\u00E9 sociale, \u00E9conomique, sanitaire d'une communaut\u00E9. Ils vont ensuite la jouer sur les lieux de vie de la communaut\u00E9 \u00E0 qui est destin\u00E9 le message. \u00C0 la fin de la sc\u00E8ne - dont la conclusion est en g\u00E9n\u00E9ral catastrophique -, le meneur de jeu propose de rejouer le tout et convie les membres du public \u00E0 intervenir \u00E0 des moments cl\u00E9 o\u00F9 il pense pouvoir dire ou faire quelque chose qui infl\u00E9chirait le cours des \u00E9v\u00E9nements. Il s'agit d'une technique de th\u00E9\u00E2tre participative qui vise \u00E0 la conscientisation et \u00E0 l'information des populations opprim\u00E9es d'une fa\u00E7on ou d'une autre. Le th\u00E9\u00E2tre forum s'utilise ainsi beaucoup aupr\u00E8s des populations non alphab\u00E9tis\u00E9es dans les projets de d\u00E9veloppement en pays du Sud (par exemple en Inde, au Rajasthan, au Bengale et au Maharashtra), mais est aussi en usage dans les pays d\u00E9velopp\u00E9s pour soulever des probl\u00E8mes de soci\u00E9t\u00E9."@fr . "Forum theatre"@en . "Le th\u00E9\u00E2tre forum est une technique de th\u00E9\u00E2tre, mise au point dans les ann\u00E9es 1960 par l'homme de th\u00E9\u00E2tre br\u00E9silien Augusto Boal, dans les favelas de S\u00E3o Paulo. Le th\u00E9\u00E2tre forum est une des formes du th\u00E9\u00E2tre de l'opprim\u00E9.Le principe en est que les com\u00E9diens improvisent puis fixent une fable de 15 \u00E0 20 minutes sur des th\u00E8mes illustrant des situations d'oppression ou des sujets probl\u00E9matiques de la r\u00E9alit\u00E9 sociale, \u00E9conomique, sanitaire d'une communaut\u00E9."@fr . "Th\u00E9\u00E2tre forum"@fr . . "Zakladatelem \u017E\u00E1nru divadlo f\u00F3rum je Augusto Boal. P\u016Fvodn\u011B vystudoval chemii. Pozd\u011Bji se za\u010Dal nejprve amat\u00E9rsky, posl\u00E9ze systematicky v\u011Bnovat divadlu. Jeho v\u011Bdeck\u00E1 st\u00E1\u017E ve Spojen\u00FDch st\u00E1tech byla z\u00E1st\u011Brkou pro jeho dramatick\u00E9 aktivity v New Yorku. Po n\u00E1vratu do Braz\u00EDlie se Boal zam\u011B\u0159il p\u0159edev\u0161\u00EDm na politick\u00E1 t\u00E9mata a vyhled\u00E1val publikum v soci\u00E1ln\u011B slab\u00FDch skupin\u00E1ch. Po jednom vystoupen\u00ED se siln\u011B revolu\u010Dn\u00EDm t\u00F3nem byl vyzv\u00E1n jedn\u00EDm vesni\u010Danem, aby se p\u0159ipojil k ozbrojen\u00E9mu odporu. Boal si uv\u011Bdomil, \u017Ee p\u0159edkl\u00E1d\u00E1 sv\u00FDm div\u00E1k\u016Fm \u0159e\u0161en\u00ED, kter\u00E1 by on s\u00E1m v jejich situaci nevolil. Od t\u00E9 doby p\u0159edkl\u00E1dal sv\u00FDm div\u00E1k\u016Fm p\u0159edev\u0161\u00EDm otev\u0159en\u00E9 probl\u00E9my. Pozd\u011Bji umo\u017Enil div\u00E1kovi vstup na p\u00F3dium. Svoji metodu nazval Divadlo F\u00F3rum.Z\u00E1kladem t\u00E9to metody je kr\u00E1tk\u00FD, zpravidla otev\u0159en\u00FD p\u0159\u00EDb\u011Bh. T\u00E9ma je siln\u011B probl\u00E9mov\u00E9 a m\u00E1 za c\u00EDl vzbudit negativn\u00ED reakci. P\u0159\u00EDb\u011Bh p\u0159edkl\u00E1d\u00E1 nekorektn\u00ED vztahy a chybn\u00E9 postoje. Moder\u00E1tor pot\u00E9 ozn\u00E1m\u00ED, \u017Ee se p\u0159\u00EDb\u011Bh bude hr\u00E1t znovu. Div\u00E1ci maj\u00ED mo\u017Enost se p\u0159ihl\u00E1sit a navrhnout jednotliv\u00FDm postav\u00E1m, co by m\u011Bli ud\u011Blat jinak. Herci se pak pokus\u00ED zahr\u00E1t sv\u00E9 role tak, aby vyhov\u011Bli po\u017Eadavk\u016Fm div\u00E1k\u016F. Z\u00E1rove\u0148 je mo\u017En\u00E9, aby div\u00E1k zkusil zahr\u00E1t roli l\u00E9pe, nebo prost\u011B tak, jak by se zachoval v dan\u00E9 situaci.V sedmdes\u00E1t\u00FDch letech 20. stolet\u00ED se jist\u00FD Brazilec Augusto Boal za\u010Dal zab\u00FDvat vyu\u017Eit\u00EDm divadla jako obranou proti politick\u00E9mu \u00FAtlaku. Jezdil po Braz\u00EDlii a sehr\u00E1val divadeln\u00ED p\u0159edstaven\u00ED, ve kter\u00FDch herci \u0159e\u0161ili \u00FAtlaky (rasistick\u00FD fyzick\u00FD i psychick\u00FD \u00FAtlak, dom\u00E1c\u00ED n\u00E1sil\u00ED, politick\u00FD \u00FAtlak aj.) a uk\u00E1zal div\u00E1k\u016Fm, jak by mohli sv\u00E9 probl\u00E9my oni sami vy\u0159e\u0161it. Jen\u017Ee p\u0159i jednom p\u0159edstaven\u00ED se n\u011Bkter\u00FD div\u00E1k ohradil, jak oni (herci) mohou d\u00E1vat \u201En\u00E1vod\u201C k \u0159e\u0161en\u00ED, kdy\u017E sami ne\u0159e\u0161\u00ED pr\u00E1v\u011B tyto probl\u00E9my. Proto se A. Boal rozhodl, \u017Ee herci nebudou \u0159e\u0161it probl\u00E9my, n\u00FDbr\u017E je pouze nastol\u00ED a spole\u010Dnou debatou s div\u00E1ky se budou sna\u017Eit vy\u0159e\u0161it dan\u00FD probl\u00E9m. Augustovo divadlo umo\u017E\u0148ovalo v\u011Bt\u0161\u00ED interakci mezi herci a div\u00E1ky. Div\u00E1k ji\u017E nebyl pouh\u00FDm p\u0159\u00EDjemcem, ale tak\u00E9 mohl ovlivnit d\u011Bj svou my\u0161lenkou a n\u00E1zorem. Div\u00E1kovy n\u00E1pady se ov\u011B\u0159ovaly p\u0159\u00EDmo na jevi\u0161ti. Div\u00E1k navrhnul mo\u017En\u00E9 \u0159e\u0161en\u00ED a herci jej sehr\u00E1li i s n\u00E1sledky. Takto koncipovan\u00E9 divadlo ji\u017E bylo v\u00EDce p\u0159ijateln\u00E9 pro div\u00E1ky, av\u0161ak herci nem\u011Bli tolik vnit\u0159n\u00EDch zku\u0161enost\u00ED s dan\u00FDmi probl\u00E9my. A tak se stalo, \u017Ee p\u0159i jist\u00E9m p\u0159edstaven\u00ED jedna pan\u00ED v hledi\u0161ti byla natolik nespokojena s t\u00EDm, jak herci na jevi\u0161ti reaguj\u00ED, a\u017E ji A. Boal vyzval, aby ona sama dohr\u00E1la onen p\u0159\u00EDb\u011Bh. Tento moment podn\u00EDtil vznik Divadla f\u00F3rum, kdy div\u00E1ci si m\u011Bn\u00ED role s herci a st\u00E1vaj\u00ED se tak spoluakt\u00E9ry \u2013 spoluherci, ne jen pasivn\u00EDmi div\u00E1ky. A. Boal vyu\u017E\u00EDv\u00E1 pro ozna\u010Den\u00ED t\u011Bchto div\u00E1k\u016F slovn\u00ED h\u0159\u00ED\u010Dku \u201Espect-actors\u201C \u2013 (div\u00E1ko-herci).Tento druh divadla \u0161\u00ED\u0159il A. Boal d\u00E1le do Evropy, kde v\u0161ak pro\u0161el jist\u00FDmi zm\u011Bnami. V Evrop\u011B je jin\u00FD druh \u00FAtlaku ne\u017E v Ji\u017En\u00ED Americe. T\u00FDk\u00E1 se sp\u00ED\u0161e probl\u00E9m\u016F osobn\u00EDch a psychologick\u00FDch ne\u017E probl\u00E9m\u016F politick\u00FDch, jak tomu bylo v Braz\u00EDlii.Typick\u00E9 a nutn\u00E9 pro DF je to, \u017Ee se p\u0159i ka\u017Ed\u00E9 realizaci se \u0159e\u0161\u00ED jist\u00FD \u00FAtlak bu\u010F ur\u010Dit\u00E9 soci\u00E1ln\u00ED skupiny, nebo jednotlivce. \u010Cast\u00FDmi t\u00E9maty (\u00FAtlaky) je \u0161ikana, drogy, alkohol, vy\u010Dle\u0148ov\u00E1n\u00ED jednotlivce ze spole\u010Dnosti kv\u016Fli jeho odli\u0161nostem, hled\u00E1n\u00ED vlastn\u00ED identity (druh psychologick\u00E9ho \u00FAtlaku).Herci vytvo\u0159\u00ED na aktu\u00E1ln\u00ED probl\u00E9m p\u0159\u00EDb\u011Bh (zhruba 5 sc\u00E9n: expozice, kolize, krize, peripetie, katastrofa), kter\u00FD kon\u010D\u00ED pro hlavn\u00EDho protagonistu \u0161patn\u011B, a\u017E katastrof\u00E1ln\u011B a sehraj\u00ED jej \u00FA\u010Dastn\u00EDk\u016Fm. Ti jsou ji\u017E pot\u00E9 d\u00E1le vedeni JOKEREM, kter\u00FD m\u00E1 funkci zprost\u0159edkovatele mezi herci a div\u00E1ky. Jedn\u00E1 se o d\u016Fle\u017Eitou postavu DF, nebo\u0165 ten pln\u00ED funkci re\u017Eis\u00E9ra, pomocn\u00EDka, vedouc\u00EDho d\u00EDlny, konferenci\u00E9ra, rozhod\u010D\u00EDho. Je stejn\u011B nestrann\u00FD, jako je nestrann\u00FD joker (\u017Eol\u00EDk) v bal\u00ED\u010Dku karet. Nepat\u0159\u00ED k \u017E\u00E1dn\u00E9 barv\u011B, ale m\u00EDch\u00E1 se mezi n\u011B.Po prvn\u00EDm sehr\u00E1n\u00ED p\u0159\u00EDb\u011Bhu joker rekapituluje spolu s \u00FA\u010Dastn\u00EDky p\u0159\u00EDb\u011Bh. O \u010Dem to bylo, jak\u00E9 jsme vid\u011Bli postavy, jac\u00ED jsou, jak\u00E9 kdo m\u00E1 motivace ke sv\u00E9mu jedn\u00E1n\u00ED, jak to cel\u00E9 dopadlo, kdo je hlavn\u00ED hrdina, kdo utla\u010Duje, kdo je utla\u010Dov\u00E1n apod.Pot\u00E9 n\u00E1sleduje op\u011Btovn\u00E9 sehr\u00E1n\u00ED stejn\u00E9ho p\u0159\u00EDb\u011Bhu, ov\u0161em s tou v\u00FDjimkou, \u017Ee \u00FA\u010Dastn\u00EDci mohou kdykoli zastavit d\u011Bj a navrhnout jin\u00E9 \u0159e\u0161en\u00ED, jin\u00E9 rozhodnut\u00ED hrdiny. V ide\u00E1ln\u00EDm p\u0159\u00EDpad\u011B se ten, co navrhuje \u0159e\u0161en\u00ED stane hercem a vyzkou\u0161\u00ED si na vlastn\u00ED k\u016F\u017Ei jak\u00E9 to je, kdy\u017E se n\u011Bkomu postav\u00ED a jak\u00E9 to m\u016F\u017Ee m\u00EDt d\u016Fsledky. Pokra\u010Duje se d\u00E1l, ov\u0161em u\u017E s t\u00EDm, jak\u00E1 zm\u011Bna prob\u011Bhla. \u00DA\u010Dastn\u00EDci maj\u00ED mo\u017Enost vid\u011Bt n\u00E1sledky sv\u00FDch rozhodnut\u00ED, ov\u0161em st\u00E1le v bezpe\u010Dn\u00E9 rovin\u011B fikce. \u00DA\u010Dastn\u00EDci si skrze DF uv\u011Bdomuj\u00ED, \u017Ee maj\u00ED mo\u017Enost \u0159e\u0161it probl\u00E9my v\u00EDce zp\u016Fsoby. To je to, v \u010Dem je DF v\u00FDjime\u010Dn\u00E9. M\u016F\u017Eeme si vyzkou\u0161et n\u011Bkolik mo\u017En\u00FDch \u0159e\u0161en\u00ED jednoho probl\u00E9mu a vid\u00EDme tak\u00E9 n\u011Bkolik mo\u017En\u00FDch n\u00E1sledk\u016F. A v\u0161e v bezpe\u010D\u00ED fikce. Ne\u0159e\u0161\u00EDme p\u0159ece n\u00E1\u0161 probl\u00E9m, ale probl\u00E9m hlavn\u00EDho hrdiny. Spousta z \u00FA\u010Dastn\u00EDk\u016F se samoz\u0159ejm\u011B ztoto\u017En\u00ED s hlavn\u00EDm hrdinou (mohou za\u017E\u00EDvat n\u011Bco podobn\u00E9ho), ale v\u017Edy mohou ventilovat sv\u00E9 pocity skrze roli."@cs . .