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  1. <?xml version='1.0' encoding='UTF-8'?><?xml-stylesheet href="http://www.blogger.com/styles/atom.css" type="text/css"?><feed xmlns='http://www.w3.org/2005/Atom' xmlns:openSearch='http://a9.com/-/spec/opensearchrss/1.0/' xmlns:blogger='http://schemas.google.com/blogger/2008' xmlns:georss='http://www.georss.org/georss' xmlns:gd="http://schemas.google.com/g/2005" xmlns:thr='http://purl.org/syndication/thread/1.0'><id>tag:blogger.com,1999:blog-3626548703768687465</id><updated>2024-04-19T00:03:41.591-07:00</updated><title type='text'>Bárbara Santos</title><subtitle type='html'>Investigação, Produção e Qualificação em Teatro do Oprimido /                                                                                                                        Research, Production and Qualification in Theatre of the Oppressed /                   &#xa;Investigación, Producción y Calificación en Teatro del Oprimido / Recherche, Production et de Formation au Théàtre de l&#39;Opprimé</subtitle><link rel='http://schemas.google.com/g/2005#feed' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/posts/default'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/'/><link rel='hub' href='http://pubsubhubbub.appspot.com/'/><link rel='next' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default?start-index=26&amp;max-results=25'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><generator version='7.00' uri='http://www.blogger.com'>Blogger</generator><openSearch:totalResults>41</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-69875675455921580</id><published>2016-08-31T06:08:00.001-07:00</published><updated>2016-08-31T06:35:25.976-07:00</updated><title type='text'></title><content type='html'>&lt;div style=&quot;text-align: center;&quot;&gt;
  2. &lt;div style=&quot;text-align: left;&quot;&gt;
  3. &lt;span style=&quot;font-size: large;&quot;&gt;&amp;nbsp;&amp;nbsp;&lt;b&gt;&lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;Aesthetics of the Oppressed&lt;/span&gt;&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;
  4. &lt;div style=&quot;text-align: left;&quot;&gt;
  5. &lt;b&gt;&lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; font-size: large;&quot;&gt;&amp;nbsp; Sound/Rhythm with Jana Sanskriti in Badu, Kolkata&lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; text-align: right;&quot;&gt;&lt;span style=&quot;font-size: large;&quot;&gt;&amp;nbsp; &amp;nbsp;&lt;/span&gt; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp;&lt;/span&gt;&lt;/div&gt;
  6. &lt;/div&gt;
  7. &lt;div style=&quot;text-align: center;&quot;&gt;
  8. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; text-align: right;&quot;&gt;&amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &amp;nbsp; &lt;span style=&quot;font-weight: normal;&quot;&gt;(Bárbara Santos and Till Baumann,&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-weight: normal; text-align: right;&quot;&gt;July 2016)&lt;/span&gt;&lt;/div&gt;
  9. &lt;div align=&quot;right&quot; class=&quot;MsoNormal&quot; style=&quot;text-align: right;&quot;&gt;
  10. &lt;span style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  11. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  12. &lt;div style=&quot;text-align: center;&quot;&gt;
  13. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;BADU&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn1&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[1]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  14. &lt;/div&gt;
  15. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  16. &lt;div style=&quot;text-align: center;&quot;&gt;
  17. &lt;br /&gt;&lt;/div&gt;
  18. &lt;/div&gt;
  19. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  20. &lt;div style=&quot;text-align: center;&quot;&gt;
  21. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;tea, theatre&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  22. &lt;/div&gt;
  23. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  24. &lt;div style=&quot;text-align: center;&quot;&gt;
  25. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;sound, rhythm&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  26. &lt;/div&gt;
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  29. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;image,
  30. movement&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  31. &lt;/div&gt;
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  33. &lt;div style=&quot;text-align: center;&quot;&gt;
  34. &lt;br /&gt;&lt;/div&gt;
  35. &lt;/div&gt;
  36. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  37. &lt;div style=&quot;text-align: center;&quot;&gt;
  38. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;tea, team&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  39. &lt;/div&gt;
  40. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  41. &lt;div style=&quot;text-align: center;&quot;&gt;
  42. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;food, fruits&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  43. &lt;/div&gt;
  44. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  45. &lt;div style=&quot;text-align: center;&quot;&gt;
  46. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;flavours,
  47. care&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  48. &lt;/div&gt;
  49. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  50. &lt;div style=&quot;text-align: center;&quot;&gt;
  51. &lt;br /&gt;&lt;/div&gt;
  52. &lt;/div&gt;
  53. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  54. &lt;div style=&quot;text-align: center;&quot;&gt;
  55. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;tea, theory&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  56. &lt;/div&gt;
  57. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  58. &lt;div style=&quot;text-align: center;&quot;&gt;
  59. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;concepts,
  60. perceptions&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  61. &lt;/div&gt;
  62. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  63. &lt;div style=&quot;text-align: center;&quot;&gt;
  64. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;discussion,
  65. exchange&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  66. &lt;/div&gt;
  67. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  68. &lt;div style=&quot;text-align: center;&quot;&gt;
  69. &lt;br /&gt;&lt;/div&gt;
  70. &lt;/div&gt;
  71. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  72. &lt;div style=&quot;text-align: center;&quot;&gt;
  73. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;tea, tears&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  74. &lt;/div&gt;
  75. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  76. &lt;div style=&quot;text-align: center;&quot;&gt;
  77. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;memory,
  78. history&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  79. &lt;/div&gt;
  80. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  81. &lt;div style=&quot;text-align: center;&quot;&gt;
  82. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;emotion,
  83. imagination&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  84. &lt;/div&gt;
  85. &lt;div align=&quot;right&quot; class=&quot;MsoNormal&quot; style=&quot;text-align: right; text-autospace: ideograph-numeric;&quot;&gt;
  86. &lt;br /&gt;&lt;/div&gt;
  87. &lt;div style=&quot;text-align: center;&quot;&gt;
  88. &lt;!--[if gte mso 9]&gt;&lt;xml&gt;
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  94.  &lt;w:Zoom&gt;0&lt;/w:Zoom&gt;
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  98.  &lt;w:DrawingGridHorizontalSpacing&gt;18 pt&lt;/w:DrawingGridHorizontalSpacing&gt;
  99.  &lt;w:DrawingGridVerticalSpacing&gt;18 pt&lt;/w:DrawingGridVerticalSpacing&gt;
  100.  &lt;w:DisplayHorizontalDrawingGridEvery&gt;0&lt;/w:DisplayHorizontalDrawingGridEvery&gt;
  101.  &lt;w:DisplayVerticalDrawingGridEvery&gt;0&lt;/w:DisplayVerticalDrawingGridEvery&gt;
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  103.  &lt;w:SaveIfXMLInvalid&gt;false&lt;/w:SaveIfXMLInvalid&gt;
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  106.  &lt;w:Compatibility&gt;
  107.   &lt;w:BreakWrappedTables/&gt;
  108.   &lt;w:DontGrowAutofit/&gt;
  109.   &lt;w:DontAutofitConstrainedTables/&gt;
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  113. &lt;/xml&gt;&lt;![endif]--&gt;&lt;!--[if gte mso 9]&gt;&lt;xml&gt;
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  117.  
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  120. /* Style Definitions */
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  122. {mso-style-name:&quot;Table Normal&quot;;
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  138. mso-hansi-theme-font:minor-latin;
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  140. mso-bidi-theme-font:minor-bidi;}
  141. &lt;/style&gt;
  142. &lt;![endif]--&gt;
  143.  
  144.  
  145.  
  146. &lt;!--StartFragment--&gt;
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  184. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 10.0pt;&quot;&gt;BADU...&lt;/span&gt;
  185.  
  186. &lt;!--EndFragment--&gt;&lt;/div&gt;
  187. &lt;br /&gt;
  188. &lt;a href=&quot;https://vimeo.com/178176527&quot;&gt;&lt;b&gt;&lt;span style=&quot;font-size: large;&quot;&gt;VIDEO&lt;/span&gt;&lt;/b&gt;&lt;/a&gt;&lt;br /&gt;
  189. &lt;br /&gt;
  190. &lt;div style=&quot;mso-element: footnote-list;&quot;&gt;
  191. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  192. &lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;Our
  193. investigation of Aesthetics of the Oppressed – Sound/Rhythm began with a
  194. theatrical laboratory in Berlin in 2010. Based on this experience we created a
  195. structure for workshops as well as a way of creation of Theatre of the Oppressed
  196. (TO) productions in general, and Forum Theatre productions in particular. We
  197. tested and developed this structure in workshops in KURINGA Berlin (20011/12)
  198. as well as during Theatre of the Oppressed meetings and festivals such as the
  199. Pula Forum Festival in Croatia (2012/13) and the Second Latin American Theatre
  200. of the Oppressed Meeting in Guatemala (2012).&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;br /&gt;
  201. &lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  202. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  203. &lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;In 2013, we decided to share the
  204. Sound/Rhythm-process with the Centre of the Theatre of the Oppressed (CTO) in
  205. Rio de Janeiro, out of recognition and gratitude. CTO was our source of
  206. inspiration stimulating us to follow the research of Aesthetics of the
  207. Oppressed that Augusto Boal and his team&amp;nbsp;had begun in
  208. 2001 in Brazil. After the workshop and street presentation in Rio,
  209. more workshops and presentations followed: at the Colombian Theatre of the
  210. Oppressed Festival (2013) and the Latin American Theatre of the Oppressed
  211. Meetings in Bolivia and Nicaragua (2014/16).&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;br /&gt;
  212. &lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  213. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  214. &lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;In 2015, Jana Sanskriti visited us in KURINGA,
  215. space for Theatre of the Oppressed in Berlin. The group presented their play
  216. “Shonar Meye” and watched Forum Theatre presentations from the KURINGA
  217. community groups Madalena-Berlin and KIKMA.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn1&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[1]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/a&gt;
  218. At &lt;/span&gt;&lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-GB; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: AR-SA;&quot;&gt;this occasion, we spoke about how to share the experience of Aesthetics
  219. of the Oppressed – Sound/Rhythm with Jana Sanskriti in Badu – a plan we were
  220. finally able to realize in June 2016. &lt;/span&gt;&lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;
  221. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  222. &lt;br /&gt;&lt;/div&gt;
  223. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  224. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Common grounds &lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  225. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  226. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;Our
  227. connection with Jana Sanskriti, international reference for everybody who
  228. practices Theatre of the Oppressed, had been existing for a long time. Bárbara
  229. first met the group during the international Theatre of the Oppressed&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;Festival in Rio de Janeiro in 1993 and
  230. then re-connected during the Muktadhara festivals in 2006 (with Augusto Boal)
  231. and 2010, when she conducted the first Madalena Laboratory in India.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn2&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[2]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/a&gt;
  232. Till participated in the Muktadhara festivals 2010 and 2012, conducting plastic
  233. barrel percussion workshops with Jana Sanskriti and ATG Halle.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn3&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[3]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/a&gt;
  234. As KURINGA was founded in 2011, the workshop Aesthetics of the Oppressed –
  235. Sound/Rhythm in Badu was the first collaboration between Jana Sanskriti and
  236. KURINGA. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;br /&gt;
  237. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  238. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  239. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;From our
  240. perspective, the common grounds between KURINGA and Jana Sanskriti are our deep
  241. commitment to social transformation and a TO practice&lt;span class=&quot;msoIns&quot;&gt;&lt;ins cite=&quot;mailto:Barbara%20Santos&quot; datetime=&quot;2016-07-25T18:09&quot;&gt;,&lt;/ins&gt;&lt;/span&gt; where
  242. aesthetics stimulate the understanding of social structures that produce and
  243. nourish oppression. With Jana Sanskriti, we are convinced that Forum Theatre
  244. and Theatre of the Oppressed need analytical dialogue and the search for
  245. alternatives through the construction of alliances between groups of oppressed.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;br /&gt;
  246. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  247. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  248. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;From 13 to 19
  249. June 2016, we were invited to Badu to develop an unforgettable aesthetic
  250. experience including sounds, rhythms, flavours, colours, aromas and stories.
  251. This week allowed us to reconnect with our friends and to return to a familiar
  252. environment. We were able to get to know the newly built Augusto Boal
  253. Auditorium and had the honour to work in this impressive space. We were very
  254. happy to share time with persons deeply experienced in the method and open for
  255. a process of collective sharing and learning. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  256. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  257. &lt;br /&gt;&lt;/div&gt;
  258. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  259. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Garbage &lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  260. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  261. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;As always, we
  262. met the challenge of the adaptation of a working method to local specifities.
  263. For example: the use of objects from recycled garbage as a resource for the
  264. Sound/Rhythm process. What would be our working material in a place where
  265. bottles, barrels, tins, cardboard boxes and almost every kind of container or
  266. wrapping are recycled for domestic use or sold in the streets? Finding
  267. discarded objects that can still be of use for sound production was a
  268. collective task that led us to a stimulating discussion about concepts of
  269. garbage, of consume and waste, and about different ways of life. &lt;/span&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/div&gt;
  270. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  271. &lt;br /&gt;&lt;/div&gt;
  272. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  273. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Theory&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn4&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[4]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/a&gt;
  274. &lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  275. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  276. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;In our
  277. Aesthetics of the Oppressed – Sound/Rhythm workshops, the practical process is
  278. always connected to theoretical reflection. In Badu, it was the challenging
  279. language situation that invited us to focus on the most essential aspects.
  280. Reflections translated from English to Bengali and back from Bengali to English
  281. about concepts of oppression and transformation, about aesthetics and
  282. dramaturgy allowed a fascinating dialogue between all of us. Everybody&#39;s
  283. openness for reflection and investigation facilitated the creation of a fertile
  284. environment for collective learning. &lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;
  285. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  286. &lt;br /&gt;&lt;/div&gt;
  287. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  288. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Sonorous Story&lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  289. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  290. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;Telling the
  291. sonorous stories is a crucial moment of the Sound/Rhythm process. One part of
  292. the group tells their story, only by using Sound, the other part of the group
  293. listens with closed eyes and then responds with images, using their bodies. No
  294. words are used, neither during the production of the sonorous stories nor in
  295. the dialogue of Sound and Image. Maybe the sonorous story process in Badu was
  296. the easiest and most fluid &lt;/span&gt;&lt;span lang=&quot;PT-BR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: PT-BR; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: AR-SA;&quot;&gt;so&lt;/span&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt; far. Despite the complexity of the methodology,
  297. the group reached concrete stories and the images proposed seemed to echo in all
  298. persons present. The choice of one story from a variety of proposals was based
  299. on the urgency of the topic and not much time was needed for the decision
  300. process. Once there was a concrete and specific oppression, recognized by
  301. everybody, the focus was on developing sounds and images that &lt;span class=&quot;msoIns&quot;&gt;&lt;ins cite=&quot;mailto:Till%20Baumann&quot; datetime=&quot;2016-07-25T17:04&quot;&gt;broaden&lt;/ins&gt;&lt;/span&gt;&lt;span class=&quot;msoDel&quot;&gt;&lt;del cite=&quot;mailto:Till%20Baumann&quot; datetime=&quot;2016-07-25T17:04&quot;&gt;w&lt;/del&gt;&lt;/span&gt;&lt;span class=&quot;msoDel&quot;&gt;&lt;del cite=&quot;mailto:Till%20Baumann&quot; datetime=&quot;2016-07-25T17:03&quot;&gt;iden&lt;/del&gt;&lt;/span&gt;
  302. the vision of the problem. We achieved a result that was at the same time
  303. aesthetic-metaphorical and absolutely palpable: a story of exploitation and
  304. miserable working conditions in factories, especially for women.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn5&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[5]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/a&gt;
  305. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  306. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  307. &lt;br /&gt;&lt;/div&gt;
  308. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  309. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Word &lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  310. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  311. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;For the first
  312. time we also developed Word as aesthetic element during the Sound/Rhythm
  313. process. Even though we were in a context where we did not speak nor write the
  314. language common to the group (Bengali), it was possible to use the creation of
  315. poems as activity of common understanding of the wider social context related
  316. to the specific topic represented in the play. The group decided to produce a
  317. synthesis, using parts of all the poems produced during the aesthetic process.
  318. Word, Sound/Rhythm and Image were used to create a performance that introduced
  319. the social context of the presentation. &lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/div&gt;
  320. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  321. &lt;br /&gt;&lt;/div&gt;
  322. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  323. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Forum&lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  324. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  325. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;The audience
  326. for the Forum Theatre presentation were people from the neighbourhood, the Badu
  327. community. They seemed to be absolutely connected to the story that was
  328. presented, as the aesthetic representation was clear and the topic of work
  329. exploitation in factories is of high relevance in the region. This connection
  330. guaranteed for diverse interventions, many spect-actors came on stage and showed
  331. their proposals for transformation. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  332. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  333. &lt;br /&gt;&lt;/div&gt;
  334. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  335. &lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Badu in Badu&lt;/span&gt;&lt;/b&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
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  453. &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; font-size: 12.0pt;&quot;&gt; As we were in
  454. Badu, we wanted to share the path of one or our favourite exercises called
  455. „Badu“.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn6&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[6]&lt;!--[endif]--&gt;&lt;/a&gt;
  456. Originally a kind of rhythmical opening ritual during the 2010 barrel
  457. percussion workshops involving the names of everybody, in our Sound/Rhythm
  458. workshops „Badu“ became a rhythm exercise with many variations. At the IV Latin
  459. American Theatre of the Oppressed Meeting, realized in January 2016 in
  460. Matagalpa/Nicaragua, one workshop participant, María Zikín, created a poem
  461. based on the exercise.&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn7&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[7]&lt;!--[endif]--&gt;&lt;/a&gt;
  462. From the „Badu“ rhythm and the text of the poem, we created a collective
  463. rhythmical performance that opened the Forum Theatre presentation, involving
  464. the whole audience in a „&lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 12.0pt;&quot;&gt;badú, badú, badú” chorus. During the workshop with
  465. Jana Sanskriti, we introduced rhythm and chorus and asked for proposals: what
  466. did the group want to express about Badu? What did they want to communicate at
  467. the beginning of the presentation to the Badu community? From the proposals
  468. („There are nice people in Badu”, „There are lots of trees in Badu”, „A lot of
  469. theatre happens here”, „Ghirish Bhavan is located in Badu”&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn8&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[8]&lt;!--[endif]--&gt;&lt;/a&gt; etc.) we created a
  470. rhythmical opening performance with sentences about Badu, singing and dancing
  471. for the Badu community that helped us in the chorus: &lt;span class=&quot;msoIns&quot;&gt;&lt;ins cite=&quot;mailto:Till%20Baumann&quot; datetime=&quot;2016-07-25T17:12&quot;&gt;&quot;&lt;/ins&gt;&lt;/span&gt;Badu,
  472. Badu, Badu&quot;..&lt;/span&gt;
  473.  
  474.  
  475.  
  476. &lt;!--EndFragment--&gt;&lt;br /&gt;
  477. &lt;div style=&quot;mso-element: footnote-list;&quot;&gt;
  478. &lt;!--[if !supportFootnotes]--&gt;&lt;br clear=&quot;all&quot; /&gt;
  479. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  480. &lt;b&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 40.0pt;&quot;&gt;Badú&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;
  481. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  482. &lt;br /&gt;&lt;/div&gt;
  483. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  484. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;Te invito a sentir el ritmo,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  485. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  486. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;el ritmo de tu cabeza&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  487. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  488. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;badú, badú, badú&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  489. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  490. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;descubrirás la belleza...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  491. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  492. &lt;br /&gt;&lt;/div&gt;
  493. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  494. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;Te invito a sentir el ritmo,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  495. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  496. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;el ritmo de tu corazón,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  497. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  498. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;badú, badú, badú&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  499. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  500. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;encontrarás la emoción...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  501. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  502. &lt;br /&gt;&lt;/div&gt;
  503. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  504. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;Te invito a sentir el ritmo,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  505. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  506. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;el ritmo de tu panza,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  507. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  508. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;badú, badú, badú&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  509. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  510. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;te llenarás de confianza...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  511. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  512. &lt;br /&gt;&lt;/div&gt;
  513. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  514. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;Te invito a sentir el ritmo,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  515. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  516. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;el ritmo de tus pies,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  517. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  518. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;si te gustó la canción&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  519. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  520. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;empezamos otra vez...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  521. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  522. &lt;br /&gt;&lt;/div&gt;
  523. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  524. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;Badú con la cabeza&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  525. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  526. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;y con el corazón,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  527. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
  528. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;&quot;&gt;badú, badú badú&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  529. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-autospace: ideograph-numeric;&quot;&gt;
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  647. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 12.0pt;&quot;&gt;(María Zikín 2016, inspirada en el Taller Estética Ritmo y Sonido, Enero de
  648. 2016)&lt;/span&gt;&lt;!--EndFragment--&gt;
  649.  
  650.  
  651.  
  652. &lt;br /&gt;
  653. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; font-size: 12.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;
  654. &lt;br /&gt;
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  656. &lt;!--[endif]--&gt;
  657.  
  658. &lt;br /&gt;
  659. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  660. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn1&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[1]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt; &lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;Coordinated by Bárbara Santos (Madalena-Berlin) and Christoph Leucht
  661. (KIKMA). &lt;/span&gt;&lt;/div&gt;
  662. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  663. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn2&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[2]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;i&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;PT-BR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: PT-BR; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-fareast-font-family: Cambria; mso-fareast-language: AR-SA;&quot;&gt;&lt;span class=&quot;msoIns&quot;&gt;&lt;ins cite=&quot;mailto:Barbara%20Santos&quot; datetime=&quot;2016-07-25T18:07&quot;&gt;An&lt;/ins&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;PT-BR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;&quot;&gt; &lt;/span&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial; mso-bidi-font-style: italic;&quot;&gt;&lt;span class=&quot;msoIns&quot;&gt;&lt;ins cite=&quot;mailto:Barbara%20Santos&quot; datetime=&quot;2016-07-25T18:08&quot;&gt;aesthetic investigation on oppression faced by
  664. women. &lt;/ins&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  665. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  666. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn3&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[3]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;see: Till Baumann: &lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;&quot;&gt;Noisy
  667. dialogues – some remarks on tablas and plastic barrels”, in: Dia Da Costa:
  668. Scripting Power. Jana Sanskriti On and Offstage, Kolkata 2010.&lt;/span&gt;&lt;/div&gt;
  669. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  670. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn4&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[4]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;see: &lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 40.0pt;&quot;&gt;Bárbara Santos: &lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;&quot;&gt;„&lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 40.0pt;&quot;&gt;Teatro do Oprimido, Raízes e Asas:
  671. uma teoria da práxis”, Rio de Janeiro 2016.&lt;/span&gt;&lt;/div&gt;
  672. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  673. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn5&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[5]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;A topic with high relevance in West Bengal. Similar topics were
  674. proposed during the Sound/Rhythm processes in Guatemala (2012) and Bolivia
  675. (2014). This tells a lot about global capitalism and its consequences.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  676. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  677. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn6&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[6]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;PT-BR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: PT-BR; mso-bidi-font-family: Arial; mso-fareast-font-family: Cambria; mso-fareast-language: AR-SA;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;Exercise created by Till Baumann during the
  678. collaboration with Jana Sanskriti and ATG Halle at Muktadhara Festival in Badu
  679. (2010). &lt;/span&gt;&lt;/div&gt;
  680. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  681. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn7&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[7]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;„Badú“, poem by María Zikín (Nicaragua), inspired by the workshop
  682. Aesthetics of the Oppressed – Sound/Rhythm at the IV Latin American&amp;nbsp;Theatre of the Oppressed,
  683. Matagalpa/Nicaragua, January 2016 (text see below). &lt;/span&gt;&lt;/div&gt;
  684. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  685. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn8&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[8]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;; mso-bidi-font-family: Arial;&quot;&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt;The centre of Jana Sanskriti in Badu.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  686. &lt;/div&gt;
  687. &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; /&gt;
  688. &lt;!--[endif]--&gt;
  689.  
  690. &lt;br /&gt;
  691. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  692. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn1&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Funotenzeichen&quot;&gt;&lt;span style=&quot;font-family: &amp;quot;arial&amp;quot;;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[1]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;mso-tab-count: 1;&quot;&gt; &lt;/span&gt; &lt;span lang=&quot;EN-US&quot; style=&quot;color: #16191f; font-family: &amp;quot;arial&amp;quot;; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;&quot;&gt;Bárbara Santos, Badu-Kolkata, June 15&lt;sup&gt;th&lt;/sup&gt;, 2016&lt;/span&gt;&lt;/div&gt;
  693. &lt;/div&gt;
  694. &lt;br /&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/69875675455921580/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/08/blog-post.html#comment-form' title='2 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/69875675455921580'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/69875675455921580'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/08/blog-post.html' title=''/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>2</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6910076255170779311</id><published>2016-07-27T02:00:00.002-07:00</published><updated>2016-07-27T08:46:06.557-07:00</updated><title type='text'></title><content type='html'>&lt;div style=&quot;text-align: center;&quot;&gt;
  695. &lt;h2 style=&quot;text-align: left;&quot;&gt;
  696. &lt;b&gt;&lt;span style=&quot;color: purple;&quot;&gt;MADALENA-ANASTÁCIA&amp;nbsp;&lt;/span&gt;&lt;/b&gt;&lt;b&gt;&lt;span style=&quot;color: purple;&quot;&gt;(black women) Forum Theatre Collective&lt;/span&gt;&lt;/b&gt;&lt;/h2&gt;
  697. &lt;/div&gt;
  698. &lt;br /&gt;
  699. &lt;h2&gt;
  700. &lt;b&gt;&lt;span style=&quot;color: purple;&quot;&gt;IV Latin-America Theatre of the Oppressed Meeting&amp;nbsp;&lt;/span&gt;&lt;/b&gt;&lt;/h2&gt;
  701. &lt;h3&gt;
  702. Matagalpa, Nicaragua - January 2016&lt;/h3&gt;
  703. &lt;br /&gt;
  704. &lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/KEuKYJLlEA0?rel=0&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;br /&gt;
  705. &lt;br /&gt;
  706. &lt;br /&gt;
  707. &lt;b&gt;IV Latin-American Theatre of the Oppressed Meeting (Matagalpa, Nicaragua)&lt;/b&gt;&lt;br /&gt;
  708. &lt;b&gt;Forum Session&lt;/b&gt;&lt;br /&gt;
  709. &lt;br /&gt;
  710. &lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/DQ3xTGJS1qw?rel=0&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;br /&gt;
  711. &lt;br /&gt;
  712. &lt;br /&gt;
  713. &lt;h2&gt;
  714. &lt;span style=&quot;color: purple;&quot;&gt;MULTICIDADE - 1st International Women&#39;s Performing Arts Festival&amp;nbsp;&lt;/span&gt;&lt;/h2&gt;
  715. &lt;h3&gt;
  716. &lt;b&gt;Rio de Janeiro, Brasil - September 2015&lt;/b&gt;&lt;/h3&gt;
  717. &lt;br /&gt;
  718. &lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/tZvZvhIX-14?rel=0&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;br /&gt;
  719. &lt;br /&gt;
  720. &lt;br /&gt;
  721. &lt;h2&gt;
  722. &lt;span style=&quot;color: purple;&quot;&gt;&lt;b&gt;NOSOTRAS... NOS TODAS!&lt;/b&gt;&lt;/span&gt;&lt;/h2&gt;
  723. &lt;br /&gt;
  724. &lt;b&gt;&lt;span style=&quot;color: purple;&quot;&gt;REDE MA(G)DALENA INTERNACIONAL&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  725. &lt;br /&gt;
  726. &lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; src=&quot;https://www.youtube.com/embed/qpeL_xoPHMQ?rel=0&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;br /&gt;
  727. &lt;br /&gt;
  728. &lt;br /&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6910076255170779311/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/07/blog-post.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6910076255170779311'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6910076255170779311'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/07/blog-post.html' title=''/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://img.youtube.com/vi/KEuKYJLlEA0/default.jpg" height="72" width="72"/><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-586549731581979843</id><published>2016-06-02T06:26:00.005-07:00</published><updated>2016-06-02T07:26:17.550-07:00</updated><title type='text'></title><content type='html'>&lt;div align=&quot;center&quot; class=&quot;MsoNormal&quot; style=&quot;background-position: initial initial; background-repeat: initial initial; line-height: normal; margin-bottom: 0cm; text-align: center;&quot;&gt;
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  791.  
  792.  
  793.  
  794. &lt;!--StartFragment--&gt;
  795.  
  796.  
  797.  
  798. &lt;span style=&quot;color: purple; font-family: &amp;quot;cambria&amp;quot;; font-size: large; mso-ansi-language: PT-BR; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: &amp;quot;Times New Roman&amp;quot;; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;&quot;&gt;&lt;b&gt;Una Red en Movimiento&lt;/b&gt;&lt;/span&gt;&lt;!--EndFragment--&gt;
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  806. “A través de los años me transformé:&lt;/div&gt;
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  808. fui santa, fui bruja, fui puta, &lt;/div&gt;
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  812. no me callé!&lt;/div&gt;
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  888.  
  889. &lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12.0pt;&quot;&gt;más no me callé, no me
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  945.  
  946.  
  947.  
  948. &lt;!--StartFragment--&gt;&lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12.0pt;&quot;&gt;Nosotras, personas socializadas como mujeres, art-ivistas practicantes
  949. del Teatro de las Oprimidas, formamos la &lt;b&gt;Red Ma(g)dalena Internacional&lt;/b&gt;, para vencer
  950. la idea patriarcal de que estamos solas, que somos frágiles e inferiores y que
  951. tenemos que justificar nuestros pasos y sostener el peso del mundo. Luchamos
  952. para superar las opresiones que se manifiestan al mismo tiempo en todos los
  953. espacios que habitamos y que limitan e impiden nuestra dignidad y posibilidades
  954. de desarrollo, libertad y felicidad. Queremos transformar el mundo desde la
  955. solidaridad, de la fuerza del afecto y de la colectividad. Desarrollamos una
  956. estética propia que nos incluye y es nuestra herramienta de investigación,
  957. creación y producción artística para transformación de esta realidad opresiva.&lt;/span&gt;&lt;!--EndFragment--&gt;&lt;/div&gt;
  958. &lt;br /&gt;
  959. &lt;div style=&quot;text-align: justify;&quot;&gt;
  960. &lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12pt;&quot;&gt;Juntas queremos hacer real el sueño de una sociedad basada en la
  961. justicia, libre de la ideología capitalista de competitividad, explotación de
  962. la persona humana y destrucción de la naturaleza. Una sociedad sin racismo, sin
  963. machismo, sin homofobia, sin lesbofobia, sin estereotipos ni mandatos sociales
  964. y sin patriarcas, donde sea posible reinventar y multiplicar los espacios de
  965. poder y diversificar quien los ocupa.&lt;/span&gt;&lt;/div&gt;
  966. &lt;br /&gt;
  967. &lt;div style=&quot;text-align: justify;&quot;&gt;
  968. &lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12pt;&quot;&gt;Trabajamos para vencer la idea de género como definidor de derecho, de
  969. espacio y de función social. Investigamos las diversas formas de comprenderse
  970. mujer como fuerza movilizadora de pertenencia identitaria teniendo en cuenta y
  971. valorando las prácticas culturales que cada una desea cuestionar. Entre
  972. nosotras somos múltiples en orígenes, en culturas, en etnias y razas, en clase
  973. social, en orientación sexual… Nuestro movimiento está basado en el
  974. reconocimiento y respeto a esas especificidades. Tomamos fuerte la idea de
  975. colectivizarnos con el objetivo de crear nuestro empoderamiento desde el amor y
  976. la fortaleza, la lucha y la expresividad.&lt;/span&gt;&lt;/div&gt;
  977. &lt;br /&gt;
  978. &lt;div style=&quot;text-align: justify;&quot;&gt;
  979. &lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12pt;&quot;&gt;Desde un proceso dialéctico y dialógico que reconoce la diversidad de
  980. cada territorio relacionamos estas vivencias con los diversos matices opresores
  981. que se interrelacionan, como: clase, raza, género y sexualidad. Nos aliamos con
  982. las estéticas populares contraponiéndonos a las estéticas dominantes cuando
  983. reconocemos la importancia de lo simbólico, del cuerpo, de los cantos, de la
  984. danza, de los elementos originarios y ancestrales de cada espacio. Nos vemos
  985. envueltas en la autoconcientización y reflexión de nuestras reproducciones
  986. estereotipadas hacia la mujer en general y estamos en pie de guerra a derribar
  987. cualquier pensamiento o acción que nos una a los poderes de subordinación así
  988. sea en nuestro espacio o en el mundo.&lt;/span&gt;&lt;/div&gt;
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  1018.  
  1019. &lt;!--[if gte mso 10]&gt;
  1020. &lt;style&gt;
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  1040.  
  1041.  
  1042.  
  1043. &lt;!--StartFragment--&gt;&lt;!--EndFragment--&gt;&lt;br /&gt;
  1044. &lt;div style=&quot;text-align: justify;&quot;&gt;
  1045. &lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
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  1047. Nuestra estética invita a la diversidad de lecturas, a la
  1048. multiplicidad de miradas sobre el mundo. No buscamos un teatro de
  1049. &quot;género&quot; hecho por mujeres, buscamos expresar una estética feminista
  1050. Ma(g)galena.&amp;nbsp;&lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12pt;&quot;&gt;Apostamos a escribir
  1051. nuestra propia historia en nombre de nuestras ancestras, por las que estamos y
  1052. están por venir.&lt;/span&gt;&lt;/div&gt;
  1053. &lt;br /&gt;
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  1064.  &lt;w:PunctuationKerning/&gt;
  1065.  &lt;w:DrawingGridHorizontalSpacing&gt;18 pt&lt;/w:DrawingGridHorizontalSpacing&gt;
  1066.  &lt;w:DrawingGridVerticalSpacing&gt;18 pt&lt;/w:DrawingGridVerticalSpacing&gt;
  1067.  &lt;w:DisplayHorizontalDrawingGridEvery&gt;0&lt;/w:DisplayHorizontalDrawingGridEvery&gt;
  1068.  &lt;w:DisplayVerticalDrawingGridEvery&gt;0&lt;/w:DisplayVerticalDrawingGridEvery&gt;
  1069.  &lt;w:ValidateAgainstSchemas/&gt;
  1070.  &lt;w:SaveIfXMLInvalid&gt;false&lt;/w:SaveIfXMLInvalid&gt;
  1071.  &lt;w:IgnoreMixedContent&gt;false&lt;/w:IgnoreMixedContent&gt;
  1072.  &lt;w:AlwaysShowPlaceholderText&gt;false&lt;/w:AlwaysShowPlaceholderText&gt;
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  1074.   &lt;w:BreakWrappedTables/&gt;
  1075.   &lt;w:DontGrowAutofit/&gt;
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  1078.  &lt;/w:Compatibility&gt;
  1079. &lt;/w:WordDocument&gt;
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  1081. &lt;w:LatentStyles DefLockedState=&quot;false&quot; LatentStyleCount=&quot;276&quot;&gt;
  1082. &lt;/w:LatentStyles&gt;
  1083. &lt;/xml&gt;&lt;![endif]--&gt;
  1084.  
  1085. &lt;!--[if gte mso 10]&gt;
  1086. &lt;style&gt;
  1087. /* Style Definitions */
  1088. table.MsoNormalTable
  1089. {mso-style-name:&quot;Table Normal&quot;;
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  1106.  
  1107.  
  1108.  
  1109. &lt;!--StartFragment--&gt;&lt;i&gt;&lt;b&gt;&lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12.0pt;&quot;&gt;¡La revolución será feminista o no será!&lt;/span&gt;&lt;!--EndFragment--&gt;&amp;nbsp;&lt;/b&gt;&lt;/i&gt;&lt;/div&gt;
  1110. &lt;br /&gt;
  1111. &lt;div class=&quot;MsoNormal&quot;&gt;
  1112. &lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 17.1200008392334px;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/i&gt;&lt;/b&gt;
  1113. &lt;br /&gt;
  1114. &lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 17.1200008392334px;&quot;&gt;R&lt;/span&gt;&lt;/i&gt;&lt;/b&gt;&lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 17.1200008392334px;&quot;&gt;ecuperar lo que Eva perdió&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn2&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/i&gt;&lt;/b&gt;&lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 17.1200008392334px;&quot;&gt;… y Lilith, y las ancestras y tantas otras y nosotras…&lt;/span&gt;&lt;/b&gt;&lt;br /&gt;
  1115. &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; /&gt;
  1116. &lt;br /&gt;&lt;/div&gt;
  1117. &lt;div class=&quot;MsoNormal&quot;&gt;
  1118. &lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 17.1200008392334px;&quot;&gt;El territorio, la palabra y el cuerpo, el placer, la autonomía, las libertades.&lt;/span&gt;&lt;/div&gt;
  1119. &lt;!--[if gte mso 9]&gt;&lt;xml&gt;
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  1128.  &lt;w:PunctuationKerning/&gt;
  1129.  &lt;w:DrawingGridHorizontalSpacing&gt;18 pt&lt;/w:DrawingGridHorizontalSpacing&gt;
  1130.  &lt;w:DrawingGridVerticalSpacing&gt;18 pt&lt;/w:DrawingGridVerticalSpacing&gt;
  1131.  &lt;w:DisplayHorizontalDrawingGridEvery&gt;0&lt;/w:DisplayHorizontalDrawingGridEvery&gt;
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  1134.  &lt;w:SaveIfXMLInvalid&gt;false&lt;/w:SaveIfXMLInvalid&gt;
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  1151. /* Style Definitions */
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  1153. {mso-style-name:&quot;Table Normal&quot;;
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  1170.  
  1171.  
  1172.  
  1173. &lt;!--StartFragment--&gt;&lt;!--EndFragment--&gt;&lt;span style=&quot;font-family: &amp;quot;cambria&amp;quot;; font-size: 12.0pt;&quot;&gt;&lt;/span&gt;
  1174. &amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;/div&gt;
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  1176. &lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;Rechazamos el
  1177. lugar de sumisión, desvalorización y aprisionamiento en el que históricamente
  1178. esta sociedad nos ha colocado. Y porque no&lt;/span&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;s&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt; reusamos
  1179. a reproducir las opresiones “naturalizadas” es que nos creamos como un espacio
  1180. de empoderamiento, libertad y autonomía para encontrarnos, reconocernos, y
  1181. fortalecer nuestras luchas.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1182. &lt;div class=&quot;MsoNormal&quot;&gt;
  1183. &lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  1184. &lt;div class=&quot;MsoNormal&quot;&gt;
  1185. &lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;“...sin pedir permiso, ni para entrar, ni para
  1186. salir del paraíso”&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn3&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;[3]&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/b&gt;&lt;/div&gt;
  1187. &lt;div class=&quot;MsoNormal&quot;&gt;
  1188. &lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  1189. &lt;div class=&quot;MsoNormal&quot;&gt;
  1190. &lt;b style=&quot;mso-bidi-font-weight: normal;&quot;&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn3&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;!--[endif]--&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/b&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;Combatimos todas
  1191. las formas de opresión;&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;a
  1192. través&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;la reapropiación de los
  1193. medios de producción artística y&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;
  1194. &lt;/span&gt;acciones sociopolíticas concretas y continuadas.&lt;/span&gt;&lt;/div&gt;
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  1196. &lt;ul&gt;
  1197. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1198. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Luchamos
  1199. por la conquista de nuestros derechos sexuales y &lt;/span&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;(&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;no&lt;/span&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;)&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt; reproductivos.&lt;/span&gt;&lt;/li&gt;
  1200. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1201. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Luchamos
  1202. por romper con estereotipos heteropatriarcales.&lt;/span&gt;&lt;/li&gt;
  1203. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1204. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Luchamos
  1205. por terminar con los privilegios y ser libres, y también por reconocer los
  1206. propios y transformarlos.&lt;/span&gt;&lt;/li&gt;
  1207. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1208. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Luchamos
  1209. por crear nuevas formas de relacionarnos desde la sororidad y la organización,
  1210. respetando los procesos individuales y grupales&lt;/span&gt;&lt;/li&gt;
  1211. &lt;/ul&gt;
  1212. &lt;!--[if !supportLists]--&gt;&lt;/div&gt;
  1213. &lt;div class=&quot;MsoNormal&quot; style=&quot;margin-left: 18.0pt;&quot;&gt;
  1214. &lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%;&quot;&gt;Nuestro compromiso político es desde los feminismos reconociendo nuestras
  1215. diferencias; sabiéndonos capaces de una alegre rebeldía que nos potencie para
  1216. descolonizar nuestros cuerpos, nuestros vínculos y los espacios que habitamos.&lt;/span&gt;&lt;/div&gt;
  1217. &lt;div class=&quot;MsoListParagraphCxSpFirst&quot; style=&quot;mso-list: l1 level1 lfo2; text-indent: -18.0pt;&quot;&gt;
  1218. &lt;br /&gt;
  1219. &lt;ul&gt;
  1220. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1221. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Nuestro
  1222. compromiso es cuestionarnos constantemente en nuestras prácticas cotidianas,
  1223. para transformar funcionamientos propios que refuerzan el heteropatriarcado.&lt;/span&gt;&lt;/li&gt;
  1224. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1225. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Nuestro
  1226. compromiso es involucrarnos con las comunidades en donde estamos y sus
  1227. movimientos y organizaciones sociales, fortaleciendo, multiplicando y
  1228. articulando&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;procesos de transformación
  1229. social desde,&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;por y para las
  1230. oprimidas.&lt;/span&gt;&lt;/li&gt;
  1231. &lt;li&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;symbol&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;&lt;span style=&quot;mso-list: Ignore;&quot;&gt;·&lt;span style=&quot;font-family: &amp;quot;times new roman&amp;quot;; font-size: 7pt; line-height: normal;&quot;&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;
  1232. &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;Rechazamos
  1233. prácticas elitistas y trabajamos para crear alianzas&lt;/span&gt;&lt;span lang=&quot;ES-GT&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt;,&lt;/span&gt;&lt;span lang=&quot;UZ-CYR&quot; style=&quot;font-family: &amp;quot;arial&amp;quot;; line-height: 107%; text-indent: -18pt;&quot;&gt; por mí ,
  1234. por nosotras y por las otras.&lt;/span&gt;&lt;/li&gt;
  1235. &lt;/ul&gt;
  1236. &lt;!--[if !supportLists]--&gt;&lt;/div&gt;
  1237. &lt;div class=&quot;MsoNormal&quot;&gt;
  1238. &lt;br /&gt;&lt;/div&gt;
  1239. &lt;div style=&quot;mso-element: footnote-list;&quot;&gt;
  1240. &lt;!--[endif]--&gt;
  1241.  
  1242. &lt;br /&gt;
  1243. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1244. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1245. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn1&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[1]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt; Parte de la canción de la Red Magdalena, ya traducida para
  1246. diversos idiomas.&lt;/span&gt;&lt;/div&gt;
  1247. &lt;/div&gt;
  1248. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1249. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1250. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn2&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[2]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt; Parte de uno de los poemas de la Red Magdalena &lt;/span&gt;&lt;/div&gt;
  1251. &lt;/div&gt;
  1252. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1253. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1254. &lt;a href=&quot;https://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn3&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;&lt;!--[if !supportFootnotes]--&gt;[3]&lt;!--[endif]--&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;UZ-CYR&quot;&gt; Ídem&lt;/span&gt;&lt;/div&gt;
  1255. &lt;/div&gt;
  1256. &lt;/div&gt;
  1257. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/586549731581979843/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/06/primer-manifiesto-de-la-red.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/586549731581979843'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/586549731581979843'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2016/06/primer-manifiesto-de-la-red.html' title=''/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-7303159687250011058</id><published>2013-05-02T04:50:00.002-07:00</published><updated>2013-05-02T04:50:28.735-07:00</updated><title type='text'>02 de Maio de 2013 / May 2, 2013</title><content type='html'>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;
  1258. &lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Q2-l3Rqzx0VJ2ZRPhJ4AG_PqqnEspsYe1nnSskjk3UdVdr4OZ2PaW-XPmhE4DnUUBVB58Md9UmQm8kqYQxs6NLmHl9KWFn1z6JNXgV_iXq80SIWmXovV1AkS1E_ZD7Vem5oUWOS2BJI/s1600/02May2013.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;238&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Q2-l3Rqzx0VJ2ZRPhJ4AG_PqqnEspsYe1nnSskjk3UdVdr4OZ2PaW-XPmhE4DnUUBVB58Md9UmQm8kqYQxs6NLmHl9KWFn1z6JNXgV_iXq80SIWmXovV1AkS1E_ZD7Vem5oUWOS2BJI/s320/02May2013.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1259. &lt;br /&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/7303159687250011058/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2013/05/02-de-maio-de-2013-may-2-2013.html#comment-form' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/7303159687250011058'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/7303159687250011058'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2013/05/02-de-maio-de-2013-may-2-2013.html' title='02 de Maio de 2013 / May 2, 2013'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Q2-l3Rqzx0VJ2ZRPhJ4AG_PqqnEspsYe1nnSskjk3UdVdr4OZ2PaW-XPmhE4DnUUBVB58Md9UmQm8kqYQxs6NLmHl9KWFn1z6JNXgV_iXq80SIWmXovV1AkS1E_ZD7Vem5oUWOS2BJI/s72-c/02May2013.jpg" height="72" width="72"/><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-7839812281663309045</id><published>2013-01-11T08:15:00.002-08:00</published><updated>2013-01-11T08:20:19.684-08:00</updated><title type='text'>Praxis Curinga [1] (El Arte de Curingar) [2] Español</title><content type='html'>&lt;!--StartFragment--&gt;
  1260.  
  1261. &lt;br /&gt;
  1262. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; text-align: justify;&quot;&gt;
  1263. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Augusto
  1264. Boal nombró como Sistema Curinga a una forma de actuación experimentada en la
  1265. década de 1960, en el Teatro Arena de São Paulo, en el cual los actores y las
  1266. actrices se alternaban en la interpretación de los personajes. Solo el
  1267. protagonista era representado por el mismo actor. Estaba también la presencia
  1268. de un actor Curinga con función narrativa, crítica y distanciada.&lt;/span&gt;&lt;/div&gt;
  1269. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1270. &lt;br /&gt;&lt;/div&gt;
  1271. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1272. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Con
  1273. la creación del Teatro del Oprimido, el término Curinga pasó a nombrar la
  1274. función de facilitar las diversas actividades del Método: actuar, brindar
  1275. talleres y cursos teóricos y prácticos; organizar y coordinar grupos populares;
  1276. dirigir montajes de escenas y espectáculos de Teatro Foro; mediar diálogos
  1277. teatrales en sesiones Foro y de Teatro Legislativo; estimular y articular la
  1278. efectividad de acciones sociales concretas y continuas; sistematizar
  1279. teóricamente la experiencia práctica; contribuir para el desarrollo del Método.
  1280. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1281. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1282. &lt;br /&gt;&lt;/div&gt;
  1283. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1284. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Curinga
  1285. es un artista con función pedagógica. Practicante y estudioso del Método.
  1286. Especialista en constante proceso de aprendizaje.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1287. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1288. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1289. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;
  1290. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1291. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Por
  1292. un lado, necesita estar consciente de los fundamentos éticos, políticos,
  1293. estéticos, pedagógicos y filosóficos del Método. Conocer el conjunto de las
  1294. técnicas que integran el Árbol del Teatro del Oprimido, compuesto por
  1295. ramificaciones coherentes e interdependientes. Y, por otro lado, tener
  1296. sensibilidad para las demandas de la realidad y capacidad de reinventar lo
  1297. conocido. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1298. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1299. &lt;br /&gt;&lt;/div&gt;
  1300. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1301. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La
  1302. praxis Curinga es diversa y compleja: de la movilización para la participación
  1303. hasta el proceso de descubrimiento de las potencialidades individuales y
  1304. colectivas y de producción artística; de la identificación de la representación
  1305. estética del conflicto hasta la discusión y la viabilidad de las estrategias
  1306. que posibilitan la transformación de la realidad escenificada. Una praxis que
  1307. conjuga actuación artística y activismo. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1308. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1309. &lt;br /&gt;&lt;/div&gt;
  1310. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1311. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La
  1312. Praxis Curinga se basa en una pedagogía libertadora que busca estimular el
  1313. autoconocimiento, autoestima y confianza en sí y &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;para la autonomia individual y colectivo. Una pedagogía
  1314. basada en la Estética del Oprimido, que promueve la expresión de ideas y de
  1315. emociones para el análisis crítico de la realidad, se convierte en una práctica
  1316. artística. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1317. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1318. &lt;br /&gt;&lt;/div&gt;
  1319. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1320. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La ética del Teatro del Oprimido
  1321. debe ser la referencia y la meta de esa praxis que se articula sobre y para
  1322. fortalecer la solidaridad entre los oprimidos. Al buscar la superación de
  1323. injusticias sociales, la praxis Curinga se constituye en una práctica política.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1324. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1325. &lt;br /&gt;&lt;/div&gt;
  1326. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1327. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Para asumir esa praxis- que no
  1328. puede ser limitada a la definición simplificadora de “herramienta social”- es
  1329. preciso responder tres preguntas esenciales: ¿por qué? ¿Cómo? Y ¿para qué? hacer
  1330. Teatro del Oprimido…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1331. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1332. &lt;br /&gt;&lt;/div&gt;
  1333. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1334. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La motivación del Teatro del
  1335. Oprimido es la existencia de la opresión. Su praxis es provocada por la
  1336. identificación de las injusticias, que están amalgamadas en diferentes niveles
  1337. de diversas relaciones sociales experimentadas por los oprimidos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1338. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1339. &lt;br /&gt;&lt;/div&gt;
  1340. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1341. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Ese hacer debe ser edificado
  1342. sobre una pedagogía y una estética específicas, por y para grupos de oprimidos.
  1343. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1344. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1345. &lt;br /&gt;&lt;/div&gt;
  1346. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1347. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;El
  1348. objetivo de esa praxis es la superación de las injusticias sociales
  1349. identificadas por los grupos de oprimidos que las enfrentan cotidianamente. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1350. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1351. &lt;br /&gt;&lt;/div&gt;
  1352. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1353. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;El
  1354. Teatro del Oprimido es practicado en el mundo entero, en lenguas, culturas y
  1355. geografías diversas. Desde Australia a Singapur, de Taiwán a Suecia, de Croacia
  1356. a África del Sur, de Angola a Egipto, de Turquía a Canadá, de Guatemala a Argentina.
  1357. El mismo leguaje aplicado a realidades muy diferentes entre sí, para facilitar
  1358. la comunicación y el análisis de diferentes temas. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1359. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1360. &lt;br /&gt;&lt;/div&gt;
  1361. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1362. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;El Método está al servicio de
  1363. la universalización del saber y del bien común, basándose en el respeto a las
  1364. especificidades de las identidades locales, y en radical oposición a la
  1365. uniformización que masifica. Por eso, el Teatro del Oprimido de la India debe
  1366. ser indiano, el de Mozambique, mozambiqueño, el de Palestina, palestino, el de
  1367. México, mexicano, el de Alemania, alemán, el de Brasil, brasilero. En cada
  1368. lugar, debe estar identificado con las especificidades locales. &lt;span style=&quot;color: red;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  1369. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1370. &lt;br /&gt;&lt;/div&gt;
  1371. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1372. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Son, los principios fundadores
  1373. del Teatro del Oprimido que garantizan su identidad, permitiendo que una
  1374. practicante de la India pueda reconocerse en el Foro producido por las
  1375. practicantes de Mozambique y viceversa. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1376. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1377. &lt;br /&gt;&lt;/div&gt;
  1378. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1379. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Al teatralizar cuestiones
  1380. comunes, como la opresión contra la mujer, grupos de regiones y países
  1381. distintos tienen formas propias – influenciadas por cultura, tabúes,
  1382. legislación, situación económica y política, entre otros factores locales – de
  1383. representar la pregunta central, estrategias específicas de comunicársela a la
  1384. sociedad y de provocar los cambios necesarios. Mientras tanto, las diferencias
  1385. percibidas en la apariencia no pueden afectar la esencia que caracteriza este
  1386. Método específico, que tiene identidad propia. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1387. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1388. &lt;br /&gt;&lt;/div&gt;
  1389. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1390. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Es la flexibilidad de la
  1391. técnica – que debe estar al servicio de las personas, considerando necesidades
  1392. concretas y especificidades locales -&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;
  1393. &lt;/span&gt;que promueve la diversidad del Método. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1394. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1395. &lt;br /&gt;&lt;/div&gt;
  1396. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1397. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La
  1398. complementariedad entre identidad y diversidad posibilita que el Teatro del
  1399. Oprimido sea el mismo en diferentes lugares, siendo, al mismo tiempo,
  1400. específico en cada uno de ellos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1401. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1402. &lt;br /&gt;&lt;/div&gt;
  1403. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1404. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Los grupos de Teatro del
  1405. Oprimido – GTO´s – trabajan con temas variados, de la violencia doméstica,
  1406. urbana o sexual a la prevención de enfermedades de transmisión sexual; de la
  1407. reforma agraria a la discriminación étnica, social y de género; de la
  1408. diversidad sexual a los derechos de los trabajadores, entre otros. Temas de
  1409. muchas vidas, de muchos lugares. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1410. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1411. &lt;br /&gt;&lt;/div&gt;
  1412. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1413. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Por
  1414. eso, la praxis Curinga exige la búsqueda incesante de saberes diversos, a
  1415. través de la formación y el enfoque multidisciplinar. Buscar saber de teatro,
  1416. cultura, educación, salud, derecho, historia, sociología, política, ecología,
  1417. economía, y de todo lo que sea posible, asociando saber a sensibilidad y
  1418. sentido común, es esencial para el desarrollo de esta praxis. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1419. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1420. &lt;br /&gt;&lt;/div&gt;
  1421. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1422. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Sin embargo, Curinga no es
  1423. quien detenta esos saberes y respuestas, sino quien duda de saberes herméticos
  1424. y de respuestas armadas, y desarrolla la habilidad de formular preguntas que
  1425. instiguen respuestas diversas y provoquen nuevas preguntas. No interesa
  1426. perseguir la respuesta perfecta, pero sí, estimular las respuestas posibles que
  1427. marquen el camino para la realidad deseada.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1428. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1429. &lt;br /&gt;&lt;/div&gt;
  1430. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1431. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La praxis Curinga precisa del
  1432. desarrollo de una actitud mayéutica&lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn4&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;,
  1433. que instale la duda como estrategia reflexiva, proceso de análisis crítico
  1434. y&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;búsqueda de respuestas
  1435. autónomas. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1436. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1437. &lt;br /&gt;&lt;/div&gt;
  1438. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1439. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;El desarrollo de un camino de
  1440. calificación para esa praxis necesita del estudio teórico, depende de
  1441. experimentación práctica y de acción ciudadana y se edifica en la maduración
  1442. humana. El Teatro del Oprimido solo puede ser apropiado por quien comparta
  1443. generosamente su saber y su experiencia. Método que solo se aprende enseñando y
  1444. que solo se enseña estando abierto a aprender. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1445. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1446. &lt;br /&gt;&lt;/div&gt;
  1447. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1448. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;A
  1449. pesar que el Teatro del Oprimido tiene una dimensión pedagógica importante,
  1450. Curinga no es profesor, de quien se espera conocimiento previo, enseñanza de
  1451. saberes, respuestas adecuadas, evaluación de desempeño. Y la platea no es un
  1452. grupo de estudiantes, que necesita aprender con la profesora.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1453. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1454. &lt;br /&gt;&lt;/div&gt;
  1455. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1456. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;De todas formas, con alguna
  1457. frecuencia, en la mediación entre el escenario y la platea, como Curingas,
  1458. asumimos el lugar de profesor pre escolar, infantilizando al público con
  1459. preguntas falsas que buscan respuestas previstas y con la explicitación moral
  1460. de la historia: la lección que debe ser aprendida. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1461. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1462. &lt;br /&gt;&lt;/div&gt;
  1463. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1464. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;La dimensión pedagógica de la
  1465. praxis Curinga debe estar basada esencialmente en la actitud mayéutica, que
  1466. tiene la pregunta, la escucha y la observación como ejes centrales; la búsqueda
  1467. sincera del conocimiento y de la compresión de la realidad como motivación; el
  1468. estímulo de la reflexión; el diálogo y la solidaridad como estrategias; y la
  1469. transformación de la realidad como meta. Actitud que ayuda al Curinga a
  1470. entender que es parte y no centro, que está al servicio del descubrimiento
  1471. colectivo y no para explicar lo que imagina que el público tiene que aprender.
  1472. Pero, al mismo tiempo, no es neutra, tiene su propia opinión. Además tiene
  1473. tanbién la responsabilidad de garantizar que los aspectos prioritarios de la
  1474. discusión se hacen evidentes.&lt;/span&gt;&lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1475. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1476. &lt;br /&gt;&lt;/div&gt;
  1477. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1478. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Aun
  1479. teniendo una base sólida, fundamentada en la ética y en la Solidaridad, el
  1480. Teatro del Oprimido no es un Método ni estático ni concluido: se amplia con
  1481. cada descubrimiento y se profundiza en cada sistematización. Esa dinámica es el
  1482. principal desafío para la formacíon de quien asume la praxis Curinga. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1483. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1484. &lt;br /&gt;&lt;/div&gt;
  1485. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1486. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Un
  1487. Método en constante movimiento y desarrollo, por principio, no puede tener
  1488. expertos “listos”.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;Sus
  1489. practicantes deben ser personas en movimiento, en estado de aprendizaje,
  1490. conscientes que conocimiento es proceso de vida y no acumulación burocrática de
  1491. información.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1492. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1493. &lt;br /&gt;&lt;/div&gt;
  1494. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1495. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Parafraseando a Antonio
  1496. Machado&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftn5&quot; name=&quot;_ftnref&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;,
  1497. Curinga es un &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;caminante que hace su
  1498. camino al andar. &lt;span style=&quot;color: red;&quot;&gt;&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;/i&gt;Ese andar comienza en la multiplicación: ejercicio
  1499. práctico y de compartir. El camino es infinito. Las llegadas diversas, son las
  1500. posibilidades de superación de realidades opresivas. &lt;span style=&quot;color: red;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  1501. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1502. &lt;br /&gt;&lt;/div&gt;
  1503. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1504. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Augusto
  1505. Boal inició la sistematización del Método de Teatro del Oprimido en la década
  1506. de 1970, en Brasil (Teatro Periodístico) y siguió descubriendo técnicas en su
  1507. período de exilio en Argentina (Teatro Invisible), en Perú (Teatro Imagen y
  1508. Teatro Foro), en Francia (Arco Iris del Deseo) y por donde pasó hasta regresar
  1509. a Brasil en 1986. En Rio de Janeiro, donde fundó el Centro de Teatro del
  1510. Oprimido (&lt;a href=&quot;http://www.ctorio.org.br/&quot;&gt;www.ctorio.org.br&lt;/a&gt; ) con el
  1511. equipo de Curingas, no paró (Teatro Legislativo) y siguió hasta el final de su
  1512. vida con la investigación de la Estética del Oprimido y la constante ampliación
  1513. del arsenal de ejercicios y juegos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1514. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1515. &lt;br /&gt;&lt;/div&gt;
  1516. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1517. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;A lo largo de los 23 años que
  1518. fue director artístico del Centro de Teatro del Oprimido, Boal cuidó
  1519. personalmente de la formación de los Curingas de su equipo, a través de
  1520. Seminarios Teóricos, Laboratorios Prácticos y del Centro de Estudios Generales.
  1521. Actividades para el análisis y producción de textos teóricos; evaluación del
  1522. desarrollo de proyectos; revisión, experimentación y sistematización de
  1523. ejercicios, juegos y técnicas del Árbol del Teatro del Oprimido y de su
  1524. dramaturgia; y el estudio de temas políticos y sociales. Curingas formados
  1525. entre la experimentación práctica y la producción teórica.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1526. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1527. &lt;br /&gt;&lt;/div&gt;
  1528. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1529. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;En
  1530. el Teatro del Oprimido, la actuación práctica alimenta la producción teórica
  1531. que debe ser, al mismo tiempo, su fundamento y punto de partida.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1532. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1533. &lt;br /&gt;&lt;/div&gt;
  1534. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1535. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;El
  1536. Teatro del Oprimido es un instrumento eficaz de comunicación y de búsqueda de
  1537. alternativas concretas para problemas reales, a través de medios estéticos.
  1538. Crea condiciones para que el oprimido se apropie de los medios de producir
  1539. teatro y así amplíe sus posibilidades de expresión. Al eliminar las barreras
  1540. entre el escenario y la platea, establece un diálogo activo, democrático y
  1541. propositivo. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1542. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1543. &lt;br /&gt;&lt;/div&gt;
  1544. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1545. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Uno
  1546. de los requisitos básicos de la praxis Curinga es facilitar ese diálogo,
  1547. establecer una comunicación horizontal, que sea al mismo tiempo investigativa y
  1548. propositiva. Facilitar no significa ofrecer respuestas o presentar caminos, y
  1549. sí ayudar en el análisis de las alternativas, con preguntas y comparaciones
  1550. instigadoras, que fomenten la expresión y garanticen espacio para la diversidad
  1551. de opiniones.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1552. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1553. &lt;br /&gt;&lt;/div&gt;
  1554. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1555. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Curingar
  1556. es el acto de mediar el diálogo entre el escenario y la platea en las sesiones
  1557. de Teatro Foro y de Teatro Legislativo, y en cualquier actividad de Teatro del
  1558. Oprimido. Curingar es estimular al espectador a salir de la condición de
  1559. consumidor del producto cultural y asumir el lugar de productor de cultura y de
  1560. conocimiento, el lugar de ciudadano: de agente de transformación de la
  1561. realidad. El Acto de Curingar, en sí, no transforma a un practicante, o una
  1562. multiplicadora de Teatro del Oprimido en Curinga, pero el ejercicio es esencial
  1563. para esa praxis.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1564. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1565. &lt;br /&gt;&lt;/div&gt;
  1566. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1567. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;A pesar de no haber una
  1568. carrera jerárquica en el Teatro del Oprimido, en cuyo tope esté la función de
  1569. Curinga, es preciso que se recorra una trayectoria práctico-teórica que
  1570. garantice al practicante del Método la apropiación de los requisitos esenciales
  1571. a esa praxis.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1572. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1573. &lt;br /&gt;&lt;/div&gt;
  1574. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1575. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Entendemos que todo el mundo
  1576. que esté comprometido en algún nivel con la práctica del Método es practicante.
  1577. Sin embargo, como practicantes, tenemos diferentes niveles de experiencia:
  1578. temas, territorios, períodos, condiciones, participantes, niveles de compromiso
  1579. y de responsabilidad, producción teórica, etc.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1580. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1581. &lt;br /&gt;&lt;/div&gt;
  1582. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1583. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Nos volvemos multiplicadores
  1584. del Método cuando asumimos la responsabilidad de compartir la experiencia
  1585. acumulada. La multiplicación debe comenzar de forma puntual y ampliarse
  1586. gradualmente. Iniciar el recorrido como asistente de alguien con más
  1587. experiencia, por ejemplo, es una alternativa aconsejable. Ese tipo de actuación
  1588. funciona como pasantía o ayudantía supervisada y como estrategia de
  1589. calificación. Así, se adquiere seguridad para avanzar, con la posibilidad de
  1590. tener orientación y apoyo para iniciativas autónomas. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1591. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1592. &lt;br /&gt;&lt;/div&gt;
  1593. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1594. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Es importante resaltar que el
  1595. camino adecuado para el desarrollo del Método de Teatro del Oprimido es el de
  1596. trabajo en equipo, dentro de colectivos, con espacio para el intercambio de
  1597. experiencias, análisis y evaluación de procesos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1598. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1599. &lt;br /&gt;&lt;/div&gt;
  1600. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1601. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;A pesar que todavía no existen
  1602. espacios formales de calificación y un currículo estructurado y reconocido que
  1603. defina el contenido necesario para la formación de una Curinga, existen
  1604. atributos esenciales que constituyen esa praxis. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1605. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1606. &lt;br /&gt;&lt;/div&gt;
  1607. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1608. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Curinga trabaja con grupos de
  1609. oprimidos. Artista que no se coloca en el centro de la obra, y sabe que el
  1610. espectáculo es el descubrimiento colectivo. Artista que no basa su actuación en
  1611. la personificación de talentos individuales – en el artista singular – sino en
  1612. la celebración de las potencialidades de cada uno dentro de la producción
  1613. colectiva. Artista que coloca su arte al servicio de la vida. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1614. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1615. &lt;br /&gt;&lt;/div&gt;
  1616. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1617. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Curinga es activista que
  1618. desenvuelve su trabajo teniendo como objetivo la organización social para la
  1619. lucha por la transformación de la realidad. Praxis que impone un tipo de
  1620. compromiso y de participación que ultrapasa la frontera de la vida privada,
  1621. porque no se puede ser activista de la vida ajena. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1622. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1623. &lt;br /&gt;&lt;/div&gt;
  1624. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1625. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Como artista-activista debe
  1626. estar atenta a las trampas inevitables del mercado de talleres que demanda la
  1627. oferta de experiencias atractivas, con “novedades” pedagógicas y recetas de
  1628. auto-ayuda. Mercado que estimula experiencias catárticas, que valoriza la “&lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;psicologización&lt;/i&gt;” e individualización de
  1629. problemas, para atender consumidores que buscan “herramientas sociales”
  1630. vaciadas de contenido político, para la adaptación de mal encaminados, la
  1631. inclusión de excluidos y el entrenamiento de víctimas. Mercado que descalifica
  1632. el concepto y niega la existencia de opresión y, en consecuencia, no reconoce
  1633. la relación conflictiva entre opresores y oprimidos. Incluso negando la esencia
  1634. del Método, el título de Teatro del Oprimido es conveniente para ese
  1635. mercado.&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;span style=&quot;color: red;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  1636. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1637. &lt;br /&gt;&lt;/div&gt;
  1638. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1639. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Delante de esa realidad, es
  1640. importante que Curingas reconozcan y se preparen para enfrentar la
  1641. contradicción entre la necesidad de garantizar la supervivencia económica y la
  1642. exigencia de mantenerse fiel a los principios fundadores del Teatro del
  1643. Oprimido. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1644. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1645. &lt;br /&gt;&lt;/div&gt;
  1646. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120302T1006; text-align: justify; text-autospace: none;&quot;&gt;
  1647. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Con apenas cuatro décadas de
  1648. existencia, el Método está presente en los cinco continentes, siendo utilizado
  1649. por centenas de practicantes, beneficiando millares de personas. Las prácticas
  1650. son diversas, en dimensiones, áreas de actuación, estilos, metas y resultados.
  1651. La impresionante difusión del Método crea la necesidad de fortalecimiento de
  1652. los principios fundadores del Teatro del Oprimido, para garantizar su autenticidad,
  1653. donde quiera que sea aplicado. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1654. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1655. &lt;br /&gt;&lt;/div&gt;
  1656. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1657. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Alrededor del mundo, son
  1658. muchos los que se presentan como Curingas de Teatro del Oprimido. Entre estos,
  1659. hay mucha gente seria trabajando con grupos de oprimidos en el desarrollo de
  1660. iniciativas transformadoras. Componiendo la misma comunidad internacional,
  1661. otros tantos que se representan a sí mismos, sin experiencia en el trabajo con
  1662. grupos de oprimidos, con espectáculos sin opresión para Foros sin pregunta, con
  1663. kits de “herramientas sociales” despolitizadas para vender en el mercado de los
  1664. workshops.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1665. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1666. &lt;br /&gt;&lt;/div&gt;
  1667. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1668. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Como
  1669. no existe, y tal vez nunca vaya a existir, consejo u órgano internacional que
  1670. regularice la actuación de lo que se “profesionalizan” en Teatro del Oprimido,
  1671. todos nosotros somos libres para presentarnos como queramos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1672. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1673. &lt;br /&gt;&lt;/div&gt;
  1674. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 150%; margin-right: -9.9pt; mso-layout-grid-align: none; mso-pagination: none; mso-prop-change: &amp;quot;Barbara Santos&amp;quot; 20120229T1452; text-align: justify; text-autospace: none;&quot;&gt;
  1675. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; mso-ansi-language: ES; mso-bidi-font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: PT-BR;&quot;&gt;Ratificar y difundir los
  1676. principios fundadores del Teatro del Oprimido es el camino para facilitar la
  1677. identificación de praxis realmente comprometidas con el Método. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1678. &lt;div class=&quot;MsoNormal&quot;&gt;
  1679. &lt;br /&gt;&lt;/div&gt;
  1680. &lt;div style=&quot;mso-element: footnote-list;&quot;&gt;
  1681. &lt;br clear=&quot;all&quot; /&gt;
  1682. &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; /&gt;
  1683. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1684. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1685. &lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn1&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt; &lt;span lang=&quot;ES&quot; style=&quot;font-size: 9.0pt; mso-ansi-language: ES;&quot;&gt;Traducción: Sabrina
  1686. Speranza&lt;/span&gt;&lt;/div&gt;
  1687. &lt;/div&gt;
  1688. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1689. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1690. &lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn2&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-size: 9.0pt; mso-ansi-language: ES;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-size: 9.0pt; mso-ansi-language: ES;&quot;&gt; Curinga. En castellano:
  1691. comodín. Decidimos dejar el término en el idioma original del texto, &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;ya que en el uso del castellano la
  1692. palabra comodín no porta el mismo significado&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1693. &lt;/div&gt;
  1694. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1695. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1696. &lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn3&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt; &lt;span lang=&quot;ES&quot; style=&quot;font-size: 9.0pt; mso-ansi-language: ES; mso-bidi-font-size: 10.0pt;&quot;&gt;Socióloga, actriz y Kuringa de Teatro del Oprimido. Coordinadora del Centro
  1697. de Teatro do Oprimido &lt;a href=&quot;http://www.cto.org.br/&quot;&gt;www.cto.org.br&lt;/a&gt;&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;de 1994 hasta &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;2008. Trabajó con Augusto Boal por dos
  1698. décadas en producciones artísticas y en la investigación/concepción de &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;técnicas teatrales como el Teatro
  1699. Legislativo y la Estética do Oprimido. Es una de las &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;idealizadoras del &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;Laboratorio Madalena – Teatro de las Oprimidas, innovadora
  1700. experiencia estética sobre &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;las
  1701. especificidades de las opresiones enfrentadas por las mujeres. Desenvuelve investigaciones
  1702. en el área de la &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;Estética del
  1703. Oprimido y del &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;Arco-iris del Deseo
  1704. (conjunto de técnicas introspectivas). Directora artística del espacio KURINGA &lt;a href=&quot;http://www.kuringa.org/&quot;&gt;www.kuringa.org&lt;/a&gt; (Alemania) y editora de la
  1705. revista Metaxis (Brasil). &lt;a href=&quot;http://kuringa-barbarasantos.blogspot.de/&quot;&gt;http://kuringa-barbarasantos.blogspot.de/&lt;/a&gt;
  1706. &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;a href=&quot;mailto:barbarasantos@kuringa.org&quot;&gt;barbarasantos@kuringa.org&lt;/a&gt;&lt;/span&gt;&lt;span lang=&quot;ES&quot; style=&quot;mso-ansi-language: ES;&quot;&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1707. &lt;/div&gt;
  1708. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1709. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1710. &lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn4&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 9.0pt; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 9.0pt; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;&quot;&gt; Método pedagógico desarrollado por Sócrates. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1711. &lt;/div&gt;
  1712. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  1713. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  1714. &lt;a href=&quot;http://www.blogger.com/blogger.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn5&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;mso-special-character: footnote;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt; &lt;span lang=&quot;ES&quot; style=&quot;color: black; font-family: Arial; font-size: 9.5pt; mso-ansi-language: ES; mso-bidi-font-family: Times;&quot;&gt;Poeta español que Boal acostumbraba mencionar
  1715. cada vez que se refería a la función de Curinga.&lt;/span&gt;&lt;/div&gt;
  1716. &lt;/div&gt;
  1717. &lt;/div&gt;
  1718. &lt;!--EndFragment--&gt;
  1719.  
  1720.  
  1721. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/7839812281663309045/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2013/01/praxis-curinga-1-el-arte-de-curingar-2.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/7839812281663309045'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/7839812281663309045'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2013/01/praxis-curinga-1-el-arte-de-curingar-2.html' title='Praxis Curinga [1] (El Arte de Curingar) [2] Español'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-249878793967132895</id><published>2012-11-29T13:05:00.001-08:00</published><updated>2012-11-29T13:05:15.857-08:00</updated><title type='text'>MADALENA INTERNATIONAL - BERLIN 2012</title><content type='html'>&lt;iframe allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;270&quot; src=&quot;http://www.youtube.com/embed/lYdIhFWu_AY?fs=1&quot; width=&quot;480&quot;&gt;&lt;/iframe&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/249878793967132895/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/11/madalena-international-berlin-2012_29.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/249878793967132895'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/249878793967132895'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/11/madalena-international-berlin-2012_29.html' title='MADALENA INTERNATIONAL - BERLIN 2012'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://img.youtube.com/vi/lYdIhFWu_AY/default.jpg" height="72" width="72"/><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6193635797942572041</id><published>2012-11-29T13:03:00.002-08:00</published><updated>2012-11-29T13:05:35.890-08:00</updated><title type='text'></title><content type='html'></content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6193635797942572041/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/11/madalena-international-berlin-2012.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6193635797942572041'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6193635797942572041'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/11/madalena-international-berlin-2012.html' title=''/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6944036596205432267</id><published>2012-10-12T06:14:00.002-07:00</published><updated>2012-10-12T06:14:19.386-07:00</updated><title type='text'>Não basta fazer teatro... é preciso atuar na vida real.</title><content type='html'>&lt;!--StartFragment--&gt;
  1722.  
  1723. &lt;br /&gt;
  1724. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1725. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;De
  1726. 11 a 16 de setembro de 2012, em Berlim, realizamos o encontro Madalena
  1727. Internacional, experiência estética que contou com 27 mulheres, praticantes do
  1728. Teatro do Oprimido, oriundas de diversos países, da America Latina, África e
  1729. Europa. Passado o encontro, denunciamos através da internet o constrangimento
  1730. vivenciado por 8 das nossas participantes na portaria do YAAM, importante
  1731. espaço da cultura Afro em Berlim.&lt;/span&gt;&lt;/div&gt;
  1732. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1733. &lt;br /&gt;&lt;/div&gt;
  1734. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1735. &lt;i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;“Na madrugada do domingo, 16.09.2012, essas
  1736. mulheres enfrentaram a atitude violenta e sexista de membros da equipe de
  1737. porteiros. Na noite desse mesmo domingo, um grupo de 30 pessoas, homens e
  1738. mulheres, seguiu para o YAAM para expressar sua indignação e cobrar uma atitude
  1739. da diretoria. Não foi possível falar com nenhum dos responsáveis e o contato
  1740. com a equipe da portaria aprofundou o conflito.”&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  1741. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1742. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1743. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;
  1744.  
  1745.  
  1746. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1747. &lt;span style=&quot;font-family: Arial;&quot;&gt;No
  1748. dia 21.09.2012, recebemos mensagem de um membro da diretoria do YAAM
  1749. solicitando contato telefônico. A conversa viabilizou um encontro presencial, no
  1750. domingo 23.09.2012, entre representantes do Madalena Internacional, da
  1751. diretoria da instituição e da equipe de segurança.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1752. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1753. &lt;br /&gt;&lt;/div&gt;
  1754. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1755. &lt;span style=&quot;font-family: Arial;&quot;&gt;De
  1756. nossa parte, queríamos que o YAAM reconhecesse a violência e o sexismo o ato
  1757. ocorrido em sua portaria. E também que mostrasse a seus colaboradores, através
  1758. de atitudes concretas, que esse tipo de atitude não pode ser tolerado e, sempre
  1759. que ocorrer, terá graves conseqüências. Alem disso, propomos a retirada mútua
  1760. das denúncias feitas na polícia. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1761. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1762. &lt;br /&gt;&lt;/div&gt;
  1763. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1764. &lt;span style=&quot;font-family: Arial;&quot;&gt;Apesar
  1765. de não termos a mesma percepção dos acontecimentos da madrugada de 16.09.12,
  1766. durante a reunião a diretoria do YAAM reconheceu a violência e o sexismo,
  1767. lamentou e se desculpou pelo acontecido e se comprometeu a tomar as
  1768. providências cabíveis. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1769. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1770. &lt;br /&gt;&lt;/div&gt;
  1771. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1772. &lt;span style=&quot;font-family: Arial;&quot;&gt;Como
  1773. integrantes do Madalena Internacional e como ativistas do Teatro do Oprimido,
  1774. acreditamos no dialogo e na cooperação, ao mesmo tempo, sabemos que a luta pela
  1775. superação do patriarcado deve ser contínua. Por isso, estaremos atentas aos
  1776. desdobramentos desse caso.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1777. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1778. &lt;br /&gt;&lt;/div&gt;
  1779. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1780. &lt;span style=&quot;font-family: Arial;&quot;&gt;Queremos
  1781. também expressar nosso repúdio ao processo de aburguesamento (&lt;/span&gt;&lt;i&gt;&lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: Arial; mso-ansi-language: EN-GB;&quot;&gt;gentrification&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;) em curso nas cercanias do YAAM, que propõe a apropriação de mais uma
  1782. área da cidade para o uso exclusivo dos ricos.&amp;nbsp; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1783. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1784. &lt;br /&gt;&lt;/div&gt;
  1785. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1786. &lt;span style=&quot;font-family: Arial;&quot;&gt;PS:
  1787. Na seqüência, publicamos a declaração da diretoria do YAAM sobre o caso. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1788. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1789. &lt;br /&gt;&lt;/div&gt;
  1790. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1791. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;
  1792. &lt;!--StartFragment--&gt;
  1793.  
  1794. &lt;/span&gt;&lt;/div&gt;
  1795. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1796. &lt;b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Gemeinsame Erklärung von
  1797. YAAM&lt;/span&gt;&lt;/b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1798. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1799. &lt;br /&gt;&lt;/div&gt;
  1800. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1801. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Wie teilweise schon
  1802. bekannt geworden ist, gab es frühen Morgen des 16.9.2012 – Sonntag, um 5Uhr –
  1803. einen Streit an der Tür des YAAM. Die Ereignisse der Nacht lassen sich nicht
  1804. mehr vollständig rekonstruieren. Zugleich ist das YAAM zu der Überzeugung
  1805. gelangt, dass es seitens eines Türstehers zu einem Fehlverhalten gekommen ist.
  1806. Hier sind elementare Grundprinzipien der Arbeit des YAAM verletzt worden,
  1807. hierfür können wir uns nur entschuldigen. Das YAAM steht seit vielen Jahren für
  1808. Gewaltfreiheit, Anti-Sexismus und Anti-Rassismus – und wenn aus unseren Reihen
  1809. jemand gegen diese Prinzipien verstößt, muss dies Konsequenzen haben.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1810. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1811. &lt;br /&gt;&lt;/div&gt;
  1812. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1813. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;In einem sehr
  1814. konstruktiven Gespräch mit den beteiligten Frauen haben wir daher beschlossen,
  1815. dass der betreffende Türsteher, obwohl wir uns mehr als 10 Jahre lang auf seine
  1816. Dienste verlassen konnten, nicht mehr im YAAM beschäftigt wird. Beide Seiten
  1817. werden die Anzeigen bei der Polizei zurückziehen. Das YAAM prüft darüber hinaus
  1818. auf Anregung von Kuringa, ob nicht öfter Frauen an der Tür als Security
  1819. eingesetzt werden können. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1820. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1821. &lt;br /&gt;&lt;/div&gt;
  1822. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1823. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;YAAM, Kuringa und
  1824. Madalena International haben in dem Gespräch festgestellt, dass es viele Ziele
  1825. gibt, für die sich alle Beteiligten gleichermaßen einsetzen. Wir wollen daher
  1826. im Dialog bleiben, um künftig auch gemeinsame Aktionen zu den Themen Sexismus
  1827. und Rassismus durchzuführen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1828. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;&quot;&gt;
  1829. &lt;br /&gt;&lt;/div&gt;
  1830. &lt;!--EndFragment--&gt;
  1831.  
  1832.  
  1833. &lt;/span&gt;&lt;br /&gt;
  1834.  
  1835.  
  1836. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1837. &lt;br /&gt;&lt;/div&gt;
  1838. &lt;!--EndFragment--&gt;
  1839.  
  1840.  
  1841. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6944036596205432267/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/nao-basta-fazer-teatro-e-preciso-atuar.html#comment-form' title='2 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6944036596205432267'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6944036596205432267'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/nao-basta-fazer-teatro-e-preciso-atuar.html' title='Não basta fazer teatro... é preciso atuar na vida real.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>2</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6703874694594292899</id><published>2012-10-12T06:05:00.002-07:00</published><updated>2012-10-12T06:05:17.040-07:00</updated><title type='text'>No sólo hacer teatro ... hay que actuar en la vida real.</title><content type='html'>&lt;!--StartFragment--&gt;
  1842.  
  1843. &lt;br /&gt;
  1844. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1845. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Del 11 al 16 septiembre de
  1846. 2012 en Berlín, ocurrió el encuentro Madalena Internacional, una experiencia
  1847. estética que incluyó a 27 mujeres de diferentes países, de América Latina,
  1848. África y Europa. Después del encuentro, nosotras icemos una denuncia a través
  1849. de la Internet acerca del maltrato experimentado por 8 de las participantes en
  1850. la entrada del YAAM.&lt;/span&gt;&lt;/div&gt;
  1851. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1852. &lt;br /&gt;&lt;/div&gt;
  1853. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1854. &lt;i&gt;&lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;&quot;En
  1855. la madrugada del Domingo, 16/09/12, estas mujeres se confrontaron con una
  1856. actitud sexista y violenta de parte de los miembros del equipo de porteros. En
  1857. la noche de ese mismo domingo, un grupo de 30 personas fueron a YAAM para pedir
  1858. explicaciones de la dirección. No se puede hablar con ninguno de los responsables
  1859. y en el contacto con el equipo de porteros se profundizó el conflicto &quot;.&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  1860. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1861. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1862. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;
  1863.  
  1864.  
  1865. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1866. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;El 21/09/12, recibimos un
  1867. mensaje de un representante de la dirección del YAAM que solicitaba un contacto
  1868. telefónico. La conversación hizo posible una reunión en persona, en Domingo,
  1869. 23/09/12, entre representantes del Madalena Internacional, de la junta
  1870. directiva de la institución y de los empleados que trabajan en la entrada. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1871. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1872. &lt;br /&gt;&lt;/div&gt;
  1873. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1874. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;Por nuestra parte, hemos
  1875. querido del YAAM que reconozca la violencia y el sexismo del acto ocurrido en la
  1876. entrada del establecimiento. Y también que mostrara a sus empleados, a través
  1877. de una acción concreta, que ese tipo de actitud no puede ser tolerado y siempre
  1878. que ocurra tendrá graves consecuencias. Además, propusimos la retirada mutua de
  1879. las denuncias hechas a la policía. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1880. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1881. &lt;br /&gt;&lt;/div&gt;
  1882. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1883. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;A pesar de no tener la
  1884. misma percepción de los acontecimientos de la madrugada del 16/09/12, durante
  1885. la reunión la dirección de YAAM reconoció la violencia y el sexismo, lamentó y
  1886. pidió disculpas por lo sucedido y se comprometió a tomar las medidas necesarias.
  1887. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1888. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1889. &lt;br /&gt;&lt;/div&gt;
  1890. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1891. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;Como participantes del Madalena
  1892. Internacional e como activistas del Teatro del Oprimido, creemos en el diálogo
  1893. y la cooperación, al mismo tiempo, sabemos que la lucha por superar el
  1894. patriarcado debe ser continua. Por lo tanto, tenemos que estar atentas a la
  1895. evolución de este caso. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1896. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1897. &lt;br /&gt;&lt;/div&gt;
  1898. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1899. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;También queremos expresar
  1900. nuestra indignación por el proceso de aburguesamiento (&lt;/span&gt;&lt;i&gt;&lt;span lang=&quot;EN-GB&quot; style=&quot;font-family: Arial; mso-ansi-language: EN-GB;&quot;&gt;gentrification&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;) en curso en las
  1901. inmediaciones de YAAM, que propone la apropiación de otra zona de la ciudad
  1902. para el uso exclusivo de los ricos. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1903. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1904. &lt;br /&gt;&lt;/div&gt;
  1905. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1906. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;PS: En la secuencia, publicamos
  1907. el comunicado del YAAM sobre el caso.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1908. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1909. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  1910. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1911. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;
  1912. &lt;!--StartFragment--&gt;
  1913.  
  1914. &lt;/span&gt;&lt;/div&gt;
  1915. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1916. &lt;b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Gemeinsame Erklärung von
  1917. YAAM&lt;/span&gt;&lt;/b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1918. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1919. &lt;br /&gt;&lt;/div&gt;
  1920. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1921. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Wie teilweise schon
  1922. bekannt geworden ist, gab es frühen Morgen des 16.9.2012 – Sonntag, um 5Uhr –
  1923. einen Streit an der Tür des YAAM. Die Ereignisse der Nacht lassen sich nicht
  1924. mehr vollständig rekonstruieren. Zugleich ist das YAAM zu der Überzeugung
  1925. gelangt, dass es seitens eines Türstehers zu einem Fehlverhalten gekommen ist.
  1926. Hier sind elementare Grundprinzipien der Arbeit des YAAM verletzt worden,
  1927. hierfür können wir uns nur entschuldigen. Das YAAM steht seit vielen Jahren für
  1928. Gewaltfreiheit, Anti-Sexismus und Anti-Rassismus – und wenn aus unseren Reihen
  1929. jemand gegen diese Prinzipien verstößt, muss dies Konsequenzen haben.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1930. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1931. &lt;br /&gt;&lt;/div&gt;
  1932. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1933. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;In einem sehr
  1934. konstruktiven Gespräch mit den beteiligten Frauen haben wir daher beschlossen,
  1935. dass der betreffende Türsteher, obwohl wir uns mehr als 10 Jahre lang auf seine
  1936. Dienste verlassen konnten, nicht mehr im YAAM beschäftigt wird. Beide Seiten
  1937. werden die Anzeigen bei der Polizei zurückziehen. Das YAAM prüft darüber hinaus
  1938. auf Anregung von Kuringa, ob nicht öfter Frauen an der Tür als Security
  1939. eingesetzt werden können. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1940. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1941. &lt;br /&gt;&lt;/div&gt;
  1942. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  1943. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;YAAM, Kuringa und
  1944. Madalena International haben in dem Gespräch festgestellt, dass es viele Ziele
  1945. gibt, für die sich alle Beteiligten gleichermaßen einsetzen. Wir wollen daher
  1946. im Dialog bleiben, um künftig auch gemeinsame Aktionen zu den Themen Sexismus
  1947. und Rassismus durchzuführen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1948. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;&quot;&gt;
  1949. &lt;br /&gt;&lt;/div&gt;
  1950. &lt;!--EndFragment--&gt;
  1951.  
  1952.  
  1953. &lt;br /&gt;
  1954.  
  1955.  
  1956. &lt;!--EndFragment--&gt;
  1957.  
  1958.  
  1959. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6703874694594292899/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/no-solo-hacer-teatro-hay-que-actuar-en.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6703874694594292899'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6703874694594292899'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/no-solo-hacer-teatro-hay-que-actuar-en.html' title='No sólo hacer teatro ... hay que actuar en la vida real.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6929363076612457333</id><published>2012-10-12T05:55:00.002-07:00</published><updated>2012-10-12T05:55:21.190-07:00</updated><title type='text'>Es reicht nicht Theater zu machen... es ist notwendig im realen Leben zu handeln.</title><content type='html'>&lt;!--StartFragment--&gt;
  1960.  
  1961. &lt;br /&gt;
  1962. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1963. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Vom 11. bis 16. September 2012 haben wir in Berlin
  1964. das Treffen Madalena International durchgeführt, eine ästhetische Erfahrung an
  1965. der 27 Frauen teilnahmen, Anwenderinnen des Theaters der Unterdrückten aus
  1966. verschiedenen Ländern Lateinamerikas, Afrikas und Europas. Nachdem das Treffen
  1967. vorbei war haben wir im Internet über eine sehr unangenehme Stituation
  1968. berichtet, die 8 unserer Teilnehmerinnen am Eingang des YAAM, einem wichtigen
  1969. Ort der Afro-Kultur Berlins, erlebt haben.&lt;/span&gt;&lt;/div&gt;
  1970. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1971. &lt;br /&gt;&lt;/div&gt;
  1972. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1973. &lt;i&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;“Am frühen
  1974. Morgen des 16.9.2012 wurden diese Frauen mit der sexistischen und aggressiven
  1975. Einstellung der Einlasser konfroniert. In der Nacht desselben Sonntags ging
  1976. daraufhin eine Gruppe von 30 Personen, Männern und Frauen, zum YAAM, um ihre
  1977. Empörung über das Vorgefallene zum Ausdruck zu bringen und eine Stellungnahme
  1978. der Leitung einzufordern. Es war unmöglich mit einem der Verantwortlichen zu
  1979. sprechen und der Kontakt mit dem Einlasser-Team verschärfte den Konflikt nur
  1980. noch weiter.”&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  1981. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1982. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1983. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;
  1984.  
  1985.  
  1986. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1987. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;Am 21.9.2012 erhielten wir eine Nachricht eines
  1988. Mitglieds der Leitung des YAAM mit der Bitte um telefonische Kontaktaufnahme.
  1989. Das Gespräch führte zu einer Begegnung von Vertreterinnen von Madalena
  1990. International mit der der Leitung des YAAM und dem Einlasser-Team am 23.9.2012.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  1991. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1992. &lt;br /&gt;&lt;/div&gt;
  1993. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  1994. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;Unserseits wollten wir erreichen, dass das YAAM den
  1995. Akt von Gewalt und Sexismus, der an seinem Einlass passierte, als solchen
  1996. anerkennt. Ausserdem wollten wir ein konkretes Zeichen gegenüber den
  1997. Mitarbeitern, welches verdeutlicht, dass eine solche Haltung nicht toleriert
  1998. wird und wenn immer sie vorkommt schwerwiegende Konsequenzen nach sich zieht.
  1999. Zusätzlich schlugen wir den wechselseitigen Rückzug der Anzeigen vor.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2000. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2001. &lt;br /&gt;&lt;/div&gt;
  2002. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2003. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;Abgesehen davon, dass wir nicht zu einer gemeinsamen
  2004. Wahrnehmung der Ereignisse der frühen Morgenstunden des 16.9.2012 fanden,
  2005. erkannte die Leitung des YAAM an, dass es zu Gewalt und Sexismus gekommen war,
  2006. bedauerte das, entschuldigte sich dafür und versprach angemessene Vorsorge für
  2007. die zukünftige Vermeidung.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2008. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2009. &lt;br /&gt;&lt;/div&gt;
  2010. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2011. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;Als Mitglieder von Madalena International und als
  2012. Aktivistinnen des Theaters der Unterdrückten glauben wir an Dialog und
  2013. Kooperation. Zugleich wissen wir, dass der Kampf zur Überwindung des
  2014. Patriachats fortgesetzt werden muss. Deswegen werden wir auch weiterhin
  2015. aufmerksam die Entwicklungen im beschriebenen Fall verfolgen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2016. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2017. &lt;br /&gt;&lt;/div&gt;
  2018. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2019. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;Ausserdem wollen wir unsere Ablehnung gegenüber dem
  2020. Gentrifizierungsprozess im Umfeld des YAAM zum Ausdruck bringen, der die
  2021. Aneigung einer weiteren Fläche für die exklusive Nutzung durch Reiche zum Ziel
  2022. hat.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2023. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2024. &lt;br /&gt;&lt;/div&gt;
  2025. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2026. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;PS: Im folgenden veröffentlichen wir die Erklärung
  2027. der Leitung des YAAM zu dem Fall.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2028. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2029. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2030. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2031. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-ansi-language: DE;&quot;&gt;
  2032. &lt;!--StartFragment--&gt;
  2033.  
  2034. &lt;/span&gt;&lt;/div&gt;
  2035. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2036. &lt;b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Gemeinsame Erklärung von
  2037. YAAM&lt;/span&gt;&lt;/b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2038. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2039. &lt;br /&gt;&lt;/div&gt;
  2040. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2041. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Wie teilweise schon
  2042. bekannt geworden ist, gab es frühen Morgen des 16.9.2012 – Sonntag, um 5Uhr –
  2043. einen Streit an der Tür des YAAM. Die Ereignisse der Nacht lassen sich nicht
  2044. mehr vollständig rekonstruieren. Zugleich ist das YAAM zu der Überzeugung
  2045. gelangt, dass es seitens eines Türstehers zu einem Fehlverhalten gekommen ist.
  2046. Hier sind elementare Grundprinzipien der Arbeit des YAAM verletzt worden,
  2047. hierfür können wir uns nur entschuldigen. Das YAAM steht seit vielen Jahren für
  2048. Gewaltfreiheit, Anti-Sexismus und Anti-Rassismus – und wenn aus unseren Reihen
  2049. jemand gegen diese Prinzipien verstößt, muss dies Konsequenzen haben.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2050. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2051. &lt;br /&gt;&lt;/div&gt;
  2052. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2053. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;In einem sehr
  2054. konstruktiven Gespräch mit den beteiligten Frauen haben wir daher beschlossen,
  2055. dass der betreffende Türsteher, obwohl wir uns mehr als 10 Jahre lang auf seine
  2056. Dienste verlassen konnten, nicht mehr im YAAM beschäftigt wird. Beide Seiten
  2057. werden die Anzeigen bei der Polizei zurückziehen. Das YAAM prüft darüber hinaus
  2058. auf Anregung von Kuringa, ob nicht öfter Frauen an der Tür als Security
  2059. eingesetzt werden können. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2060. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2061. &lt;br /&gt;&lt;/div&gt;
  2062. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2063. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;YAAM, Kuringa und
  2064. Madalena International haben in dem Gespräch festgestellt, dass es viele Ziele
  2065. gibt, für die sich alle Beteiligten gleichermaßen einsetzen. Wir wollen daher
  2066. im Dialog bleiben, um künftig auch gemeinsame Aktionen zu den Themen Sexismus
  2067. und Rassismus durchzuführen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2068. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;&quot;&gt;
  2069. &lt;br /&gt;&lt;/div&gt;
  2070. &lt;!--EndFragment--&gt;
  2071.  
  2072.  
  2073. &lt;br /&gt;
  2074.  
  2075.  
  2076. &lt;!--EndFragment--&gt;
  2077.  
  2078.  
  2079. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6929363076612457333/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/es-reicht-nicht-theater-zu-machen-es.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6929363076612457333'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6929363076612457333'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/es-reicht-nicht-theater-zu-machen-es.html' title='Es reicht nicht Theater zu machen... es ist notwendig im realen Leben zu handeln.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-109493318117447228</id><published>2012-10-12T05:42:00.001-07:00</published><updated>2012-10-12T05:44:44.971-07:00</updated><title type='text'>Theatre is not enough ... one must act in real life.</title><content type='html'>&lt;!--StartFragment--&gt;
  2080.  
  2081. &lt;br /&gt;
  2082. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2083. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;From the 11&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;th&lt;/span&gt;&lt;/sup&gt; to the 16&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;th&lt;/span&gt;&lt;/sup&gt; of
  2084. September, 2012; The Madalena International Encounter was held in Berlin as an
  2085. aesthetic experience which included the participation of 27 women, Theatre of
  2086. the Oppressed practitioners, from different countries of Latin America, Africa
  2087. and Europe. After the meeting, we denounced through the Internet the experience
  2088. of gender violence that eight of our participants suffered at YAAM, an important
  2089. point of the Afro culture in Berlin.&lt;/span&gt;&lt;/div&gt;
  2090. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2091. &lt;br /&gt;&lt;/div&gt;
  2092. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2093. &lt;i&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;&quot;At
  2094. dawn on Sunday, September 16&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;th&lt;/span&gt;&lt;/sup&gt;, these women faced sexist and violent
  2095. attitude of some of the security team members. On the evening of that Sunday, a
  2096. group of thirty people, men and mostly women went to the YAAM to express the
  2097. rejection of this treatment, and to demand a public excuse besides concrete
  2098. actions. We were denied communication with any of those responsible; the
  2099. contact with the security team deepened the conflict. &quot;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2100. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2101. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;/div&gt;
  2102. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;br /&gt;
  2103. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2104. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;On September 21&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;st&lt;/span&gt;&lt;/sup&gt;, we received a message from a
  2105. representative of the board of YAAM requesting a phone contact. The phone
  2106. conversation made possible a personal meeting on Sunday, September 23&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;rd&lt;/span&gt;&lt;/sup&gt;,
  2107. between representatives of the Madalena International, the board of YAAM and
  2108. its security staff.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2109. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2110. &lt;br /&gt;&lt;/div&gt;
  2111. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2112. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;We required from YAAM the recognition and excuse for the
  2113. violence and sexism perpetuated by the security staff. We also asked YAAM’s
  2114. management to take concrete actions that would prevent that these types of
  2115. situations happen again and demonstrate that they will not be tolerated carrying
  2116. serious consequences. Finally, we proposed the mutual withdrawal of complaints
  2117. made to the police.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2118. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2119. &lt;br /&gt;&lt;/div&gt;
  2120. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2121. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;Despite not having the same perception of the events of
  2122. September 16&lt;sup&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: small;&quot;&gt;th&lt;/span&gt;&lt;/sup&gt;, during the meeting, the representatives of YAAM
  2123. recognized the violence and sexism, regretted and apologized for what happened
  2124. and pledged to take appropriate action.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2125. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2126. &lt;br /&gt;&lt;/div&gt;
  2127. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2128. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;As members of the Madalena International, and as activists
  2129. of Theatre of the Oppressed, we believe in dialogue and cooperation; at the
  2130. same time, we know that the struggle to overcome patriarchy must be continuous.
  2131. Therefore, we will be attentive to the development of this case.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2132. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2133. &lt;br /&gt;&lt;/div&gt;
  2134. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2135. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;We also want to express our outrage at the ongoing
  2136. gentrification process in the vicinity of YAAM, which proposes the
  2137. appropriation of another area of the city for the exclusive use of the rich.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2138. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2139. &lt;br /&gt;&lt;/div&gt;
  2140. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2141. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial;&quot;&gt;PS: In the
  2142. sequence, we publish the statement of YAAM on this case.&lt;/span&gt;&lt;span lang=&quot;EN-US&quot; style=&quot;color: blue; font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2143. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2144. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2145. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2146. &lt;span lang=&quot;EN-US&quot; style=&quot;font-family: Arial; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;;&quot;&gt;
  2147. &lt;!--StartFragment--&gt;
  2148.  
  2149. &lt;/span&gt;&lt;/div&gt;
  2150. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2151. &lt;b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; font-size: 13.0pt; mso-ansi-language: DE; mso-bidi-font-family: Arial;&quot;&gt;Gemeinsame Erklärung von
  2152. YAAM&lt;/span&gt;&lt;/b&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; font-size: 13.0pt; mso-ansi-language: DE; mso-bidi-font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2153. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2154. &lt;br /&gt;&lt;/div&gt;
  2155. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2156. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Wie teilweise schon
  2157. bekannt geworden ist, gab es frühen Morgen des 16.9.2012 – Sonntag, um 5Uhr –
  2158. einen Streit an der Tür des YAAM. Die Ereignisse der Nacht lassen sich nicht
  2159. mehr vollständig rekonstruieren. Zugleich ist das YAAM zu der Überzeugung
  2160. gelangt, dass es seitens eines Türstehers zu einem Fehlverhalten gekommen ist.
  2161. Hier sind elementare Grundprinzipien der Arbeit des YAAM verletzt worden,
  2162. hierfür können wir uns nur entschuldigen. Das YAAM steht seit vielen Jahren für
  2163. Gewaltfreiheit, Anti-Sexismus und Anti-Rassismus – und wenn aus unseren Reihen
  2164. jemand gegen diese Prinzipien verstößt, muss dies Konsequenzen haben.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2165. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2166. &lt;br /&gt;&lt;/div&gt;
  2167. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2168. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;In einem sehr
  2169. konstruktiven Gespräch mit den beteiligten Frauen haben wir daher beschlossen,
  2170. dass der betreffende Türsteher, obwohl wir uns mehr als 10 Jahre lang auf seine
  2171. Dienste verlassen konnten, nicht mehr im YAAM beschäftigt wird. Beide Seiten
  2172. werden die Anzeigen bei der Polizei zurückziehen. Das YAAM prüft darüber hinaus
  2173. auf Anregung von Kuringa, ob nicht öfter Frauen an der Tür als Security
  2174. eingesetzt werden können. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2175. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2176. &lt;br /&gt;&lt;/div&gt;
  2177. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2178. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;YAAM, Kuringa und
  2179. Madalena International haben in dem Gespräch festgestellt, dass es viele Ziele
  2180. gibt, für die sich alle Beteiligten gleichermaßen einsetzen. Wir wollen daher
  2181. im Dialog bleiben, um künftig auch gemeinsame Aktionen zu den Themen Sexismus
  2182. und Rassismus durchzuführen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2183. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;&quot;&gt;
  2184. &lt;br /&gt;&lt;/div&gt;
  2185. &lt;!--EndFragment--&gt;
  2186.  
  2187.  
  2188. &lt;br /&gt;
  2189. &lt;!--EndFragment--&gt;
  2190.  
  2191.  
  2192. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/109493318117447228/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/theatre-is-not-enough-one-must-act-in.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/109493318117447228'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/109493318117447228'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/10/theatre-is-not-enough-one-must-act-in.html' title='Theatre is not enough ... one must act in real life.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-5436851433558506281</id><published>2012-09-19T09:15:00.003-07:00</published><updated>2012-09-22T03:33:27.752-07:00</updated><title type='text'>Madalena International denounces (EN, PT, ES, DE, FR, IT)</title><content type='html'>&lt;!--StartFragment--&gt;
  2193.  
  2194. &lt;br /&gt;
  2195. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2196. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;
  2197. &lt;!--StartFragment--&gt;
  2198.  
  2199. &lt;/span&gt;&lt;/div&gt;
  2200. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red; font-family: Arial;&quot;&gt;EN&lt;/span&gt;&lt;br /&gt;
  2201. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;
  2202. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2203. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2204. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2205. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Saturday, 15th September 2012, 8 Women – participants
  2206. of Madalena International coming from Mozambique, Brazil, Colombia, Spain and
  2207. Germany – experienced an unexpected episode in Berlin.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2208. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2209. &lt;br /&gt;&lt;/div&gt;
  2210. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2211. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;After a successful theatrical presentation and a
  2212. celebration among other participants, they understood that have the right to go
  2213. out and enjoy the city night. Because it being a group made up mainly by black
  2214. women, working in the cultural area in their home countries, they decide to
  2215. visit the YAAM, a place known as the socio-political and artistic&#39;
  2216. meeting-point for the African culture.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2217. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2218. &lt;br /&gt;&lt;/div&gt;
  2219. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2220. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Arriving at YAAM, they realize that it requires the
  2221. payment of an admission fee to go in. They decided to negotiate the value of
  2222. the ticket. One of them walks to one of the five men guarding the entrance and
  2223. say: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2224. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2225. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;&quot;We are a group of women and ...&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2226. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2227. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Her sentence is abruptly interrupted by one of them
  2228. gesturing and displaying the exit door:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2229. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2230. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;&quot;Get out of here, you will not go in.&quot; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2231. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2232. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;The woman responds: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2233. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2234. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;&quot;Calm down, I was just trying to ask you a question
  2235. ...&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2236. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2237. &lt;br /&gt;&lt;/div&gt;
  2238. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2239. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Then a second man, sitting slightly behind the first
  2240. one, screamed: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2241. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2242. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;&quot;You&#39;re a bitch, an ugly woman, your way of
  2243. speaking is disgusting.&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2244. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2245. &lt;br /&gt;
  2246. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;/div&gt;
  2247. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2248. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;The insults multiply. An unexpected and surprising
  2249. dump of hate begins. The woman does not accept that treatment and insults him
  2250. back. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2251. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2252. &lt;br /&gt;&lt;/div&gt;
  2253. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2254. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Another man surprises her with a punch in her face. A
  2255. punch in her face. The act of verbal violence becomes physical violence.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2256. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2257. &lt;br /&gt;&lt;/div&gt;
  2258. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2259. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;After facing the brutality of those responsible for
  2260. entering the YAAM, those women have to face the contempt, the sexism and the
  2261. indifference of the police as if they were the ones responsible for the
  2262. occurred.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2263. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2264. &lt;br /&gt;&lt;/div&gt;
  2265. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2266. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;The following day, the women share their concerns with
  2267. other participants of the Madalena International: Is it the presence of
  2268. independent women that provokes hatred in some men? Is this hate a social
  2269. product? Why does the arsenal of aggression towards women remains available,
  2270. even in the &quot;so called&quot; first world? The anti-racist movement also
  2271. includes black women? These men guarding the entrance of YAAM represent the
  2272. proposal of that space?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2273. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2274. &lt;br /&gt;&lt;/div&gt;
  2275. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2276. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Sunday, 16th September 2012, the women include this
  2277. question in the Forum session that they performed. An spect-actress comes in
  2278. the scene and makes her proposition. The women of the group decide to put into
  2279. practice the proposal staged. After the event, they run to the YAAM,
  2280. accompanied by that spect-actress. They perform an act of protest, that does not
  2281. solve the problem, but deepens the understanding of the existing oppression. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2282. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2283. &lt;br /&gt;&lt;/div&gt;
  2284. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2285. &lt;span lang=&quot;EN-US&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: EN-US; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 13.0pt;&quot;&gt;Now, it is necessary to continue the
  2286. initiated action and seek the support of organizations that are fighting for
  2287. women&#39;s rights.&lt;/span&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2288. &lt;!--EndFragment--&gt;
  2289.  
  2290.  
  2291. &lt;br /&gt;
  2292. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2293. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red;&quot;&gt;PT&lt;/span&gt;&lt;/div&gt;
  2294. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2295. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2296. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2297. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Sábado,
  2298. 15 de Setembro de 2012, 8 Mulheres participantes do Madalena Internacional -
  2299. oriundas de Moçambique, Brasil, Colômbia, Espanha e Alemanha – vivem uma experiência
  2300. inusitada em Berlim. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2301. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2302. &lt;br /&gt;&lt;/div&gt;
  2303. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2304. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Depois
  2305. de uma bem sucedida apresentação teatral e de uma festa de confraternização com
  2306. as demais participantes, essas mulheres entendem que têm o direito de sair para
  2307. conhecer um pouco da noite da cidade. Por ser um grupo formado majoritariamente
  2308. por mulheres negras, atuantes na área cultural em seus países de origem, decidem
  2309. visitar o YAAM, um espaço&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;
  2310. &lt;/span&gt;conhecido como ponto de encontro sócio-político-artístico da cultura
  2311. afro.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2312. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2313. &lt;br /&gt;&lt;/div&gt;
  2314. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2315. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Ao
  2316. chegarem no YAAM, percebem que é necessário pagar ingresso para entrar no
  2317. local. Duas das mulheres decidem negociar o valor do ingresso. &lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;&lt;/span&gt;Uma delas se dirige a um dos cinco
  2318. homens que guardam&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;a entrada do
  2319. local: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2320. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2321. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Nós
  2322. somos um grupo de mulheres e...”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2323. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2324. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;A
  2325. frase é abruptamente interrompida por um dos homens que gesticula indicando a
  2326. saída: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2327. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2328. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Saiam
  2329. daqui, vocês não vão entrar!” &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2330. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2331. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;A
  2332. mulher responde: “Calma, estava tentando apenas fazer uma pergunta...” &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2333. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2334. &lt;br /&gt;&lt;/div&gt;
  2335. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2336. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Então,
  2337. um segundo homem sentado um pouco atrás do primeiro, grita:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2338. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2339. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Você
  2340. é uma puta, uma mulher feia, sua arte de falar é asquerosa.”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2341. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2342. &lt;br /&gt;&lt;/div&gt;
  2343. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2344. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Os
  2345. insultos se multiplicam. Um inesperado e surpreendente despejo de ódio se
  2346. inicia. A mulher não aceita o tratamento e também o insulta.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2347. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2348. &lt;br /&gt;&lt;/div&gt;
  2349. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2350. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Um
  2351. outro homem a surpreende com um soco no rosto. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2352. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2353. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Um
  2354. soco no rosto. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2355. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2356. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;O
  2357. ato de violência verbal se converte em violência física. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2358. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2359. &lt;br /&gt;&lt;/div&gt;
  2360. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2361. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Depois
  2362. da truculência dos responsáveis pela entrada no YAAM, as mulheres têm que
  2363. enfrentar a indiferença e o machismo da polícia que as trata como responsáveis
  2364. pelo ocorrido.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2365. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2366. &lt;br /&gt;&lt;/div&gt;
  2367. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2368. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;No
  2369. dia seguinte, as mulheres compartilham suas inquietações com as demais
  2370. participantes do Madalena Internacional: Será que é a atitude de independência
  2371. das mulheres que provoca o ódio em alguns homens? Seria este ódio um produto
  2372. social? Porque o arsenal agressão contra as mulheres continua à disposição,
  2373. inclusive no chamado primeiro mundo? O movimento anti-racista também inclui as
  2374. mulheres negras? Estes homens que guardam a portaria do YAAM representam a
  2375. proposta do espaço?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2376. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2377. &lt;br /&gt;&lt;/div&gt;
  2378. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2379. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Domingo,
  2380. 16 de Setembro de 2012, as mulheres incluem a questão na sessão de Fórum que
  2381. realizam. Uma espectadora entra em cena e faz uma proposta. As mulheres do
  2382. grupo decidem colocar em prática a proposta encenada. Depois do evento, partem
  2383. para o YAAM, acompanhadas pela espectadora solidária. Realizam um ato de
  2384. protesto, que aprofunda o entendimento da opressão. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2385. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2386. &lt;br /&gt;&lt;/div&gt;
  2387. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2388. &lt;span style=&quot;color: #262626; font-family: Arial; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Agora,
  2389. é preciso dar continuidade à ação iniciada, buscando o apoio de organizações
  2390. que lutam pelos direitos das mulheres.&lt;/span&gt;&lt;/div&gt;
  2391. &lt;!--EndFragment--&gt;
  2392.  
  2393.  
  2394. &lt;br /&gt;
  2395. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2396. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red;&quot;&gt;ES&lt;/span&gt;&lt;/div&gt;
  2397. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2398. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2399. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2400. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Sábado, 15 de Setiembre de 2012, 8
  2401. Mujeres participantes de Madalena Internacional - oriundas de Mozambique,
  2402. Brasil, Colombia, España y Alemania – viven una experiencia inusitada en
  2403. Berlín. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2404. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2405. &lt;br /&gt;&lt;/div&gt;
  2406. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2407. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Después de una exitosa presentación
  2408. teatral y de una fiesta de confraternización con las demás participantes, estas
  2409. mujeres entienden que tienen el derecho de salir a conocer un poco de la noche
  2410. de la ciudad. Por ser un grupo formado mayoritariamente por mujeres negras, que
  2411. actúan en el área cultural en sus países de origen, deciden visitar el YAAM, un
  2412. espacio conocido como punto de encuentro socio-político-artístico de la cultura
  2413. afro. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2414. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2415. &lt;br /&gt;&lt;/div&gt;
  2416. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2417. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Al llegar al YAAM, perciben que es
  2418. necesario pagar la entrada para ingresar al local. Dos de las mujeres deciden
  2419. negociar el valor de la entrada. Una de ellas se dirige a uno de los cinco
  2420. hombres que estaban en la entrada del local:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2421. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2422. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Nosotras somos un grupo de mujeres
  2423. y...”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2424. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2425. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;La frase es abruptamente interrumpida,
  2426. por uno de los hombres que gesticula y les indica la salida: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2427. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2428. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Salgan de acá, ustedes no van a
  2429. entrar”. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2430. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2431. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;La mujer responde: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2432. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2433. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Calma, apenas estaba intentando hacer
  2434. una pregunta...”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2435. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2436. &lt;br /&gt;&lt;/div&gt;
  2437. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2438. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Entonces, un segundo hombre sentado un
  2439. poco más atrás del primero, grita:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2440. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2441. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;“Tú eres una puta, una mujer fea, tu
  2442. arte de hablar es asquerosa.”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2443. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2444. &lt;br /&gt;&lt;/div&gt;
  2445. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2446. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Los insultos se multiplican. Un
  2447. inesperado y sorprendente acto de odio se inicia. La mujer no acepta el trato y
  2448. también lo insulta.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2449. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2450. &lt;br /&gt;&lt;/div&gt;
  2451. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2452. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Otro hombre la sorprende con un golpe
  2453. en el rostro. Uno golpe en el rostro. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2454. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2455. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;El acto de violencia verbal se
  2456. convierte en violencia física. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2457. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2458. &lt;br /&gt;&lt;/div&gt;
  2459. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2460. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Después de enfrentar la truculencia de
  2461. los responsables de la entrada al YAAM, las mujeres tienen que enfrentar el
  2462. desprecio, el machismo y la indiferencia de la policía como si fueran las
  2463. responsables de lo ocurrido.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2464. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2465. &lt;br /&gt;&lt;/div&gt;
  2466. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2467. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Al día siguiente, las mujeres
  2468. comparten sus inquietudes con las demás participantes de Madalena
  2469. Internacional: ¿Será que es la presencia de mujeres independientes lo que
  2470. provoca el odio en algunos hombres? ¿Será este odio un producto social? ¿Por
  2471. qué el arsenal de agresión a las mujeres continua fácilmente a disposición,
  2472. incluso en el llamado primer mundo? ¿El movimiento anti-racista también incluye
  2473. a las mujeres negras? ¿Estos hombres que cuidan la puerta del YAAM representan
  2474. la propuesta del espacio?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2475. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2476. &lt;br /&gt;&lt;/div&gt;
  2477. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2478. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Domingo, 16 de Setiembre de 2012, las
  2479. mujeres incluyen la cuestión en la sesión de Foro que realizan. Una espectadora
  2480. entra en escena y hace una propuesta. Las mujeres del grupo deciden colocar en
  2481. práctica la propuesta escenificada. Después del evento, parten hacia el YAAM,
  2482. acompañadas por la espectadora solidaria. Realizan un acto de protesta, que no
  2483. resuelve el problema, pero profundiza la comprensión de la opresión. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2484. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2485. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;Ahora, es preciso dar continuidad a la
  2486. acción iniciada y buscar el apoyo de organizaciones que luchan por los derechos
  2487. de las mujeres.&lt;/span&gt;&lt;span lang=&quot;ES-TRAD&quot; style=&quot;font-family: Arial; mso-ansi-language: ES-TRAD;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2488. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2489. &lt;span lang=&quot;ES-TRAD&quot; style=&quot;color: #262626; font-family: Arial; mso-ansi-language: ES-TRAD; mso-bidi-font-family: &amp;quot;Lucida Grande&amp;quot;; mso-bidi-font-size: 11.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2490. &lt;!--EndFragment--&gt;
  2491.  
  2492.  
  2493. &lt;/span&gt;&lt;br /&gt;
  2494. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2495. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red;&quot;&gt;DE&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  2496. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2497. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  2498. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2499. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Samstag, 16th September 2012, 8 Frauen – Mitgestalterinnen
  2500. von “Madalena International” einem Frauentheaterfestival - aus Mozambique,
  2501. Brasilien, Kolumbien, Spanien, Italien und Deutschland – ein unerwartetes
  2502. Erlebnis in Berlin.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2503. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2504. &lt;br /&gt;&lt;/div&gt;
  2505. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2506. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Nach einer erfolgreichen Theateraufführung samt
  2507. Aftershowparty mit allen Mitwirkenden, denken sich die Frauen, dass sie das
  2508. Recht haben, auszugehen um ein bisschen das Nachtleben der Stadt
  2509. kennenzulernen. Weil sie eine Gruppe mit mehrheitlich schwarzen Frauen sind,
  2510. die in ihrer Heimat in der Kultur arbeiten, entscheiden sie sich für&#39;s YAAM,&amp;nbsp;
  2511. das als soziokultureller und Künstlertreffpunkt der Afro-Kultur bekannt ist.&lt;/span&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2512. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2513. &lt;br /&gt;&lt;/div&gt;
  2514. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2515. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Sie kommen zum YAAM und sehen, dass ein Eintrittspreis
  2516. erhoben wird. Zwei der Frauen entscheiden sich, wegen des Eintritts zu
  2517. verhandeln, eine wendet sich an einen der 5 Männer am Eingang und sagt: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2518. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2519. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;„Sorry, wir sind eine Gruppe von Frauen…“ &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2520. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2521. &lt;br /&gt;&lt;/div&gt;
  2522. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2523. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;doch weiter kann sie nicht sprechen, aggressiv fällt ihr der
  2524. Türsteher ins Wort: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2525. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2526. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;„Raus! Raus! Ihr werdet hier nicht rein gelassen!“ &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2527. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2528. &lt;br /&gt;&lt;/div&gt;
  2529. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2530. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Die Frau antwortet: „Tranquillo, ich habe nur einer Frage
  2531. gestellt.“ &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2532. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2533. &lt;br /&gt;&lt;/div&gt;
  2534. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2535. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Woraufhin einer der Männer, der bequem hinter dem ersten
  2536. sitzt, schreit: „Du bist eine Schlampe, einer hässlicher Frau, deine Art zu
  2537. Reden ist eklig!“ &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2538. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2539. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;… die Beleidigungen multiplizieren sich. Ein unerwarteter
  2540. und überraschender Ausbruch von Hass wird gestartet. Die Frau akzeptiert diese
  2541. Behandlung nicht und verteidigt sich verbal. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2542. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2543. &lt;br /&gt;&lt;/div&gt;
  2544. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2545. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Plötzlich schlägt sie der erste der Türsteher hart ins
  2546. Gesicht. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2547. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2548. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Er schlägt sie ins Gesicht. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2549. &lt;div class=&quot;MsoNormal&quot; style=&quot;mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;&quot;&gt;
  2550. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial; mso-bidi-font-size: 11.0pt;&quot;&gt;Die Gewalt und der Hass, welche bis dahin verbal waren,
  2551. werden physisch und materialisieren sich.&lt;/span&gt;&lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2552. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2553. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;
  2554. Nach der Streitlust der Einlasser des YAAM müssen die Frauen als nächstes die
  2555. Gleichgültigkeit und den Machismo der Polizei erdulden, die sie behandelt, als
  2556. ob sie die Verantwortlichen für den Übergriff gewesen wären.&lt;br style=&quot;mso-special-character: line-break;&quot; /&gt;
  2557. &lt;br style=&quot;mso-special-character: line-break;&quot; /&gt;
  2558. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2559. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2560. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;Am nächsten Tag teilen die Frauen ihre Bedenken mit den anderen
  2561. Teilnehmerinnen des Frauentheaterfestivals Madalena International:&lt;br /&gt;
  2562. Ist es vielleicht die unabhängige Haltung, die den Hass mancher Männer
  2563. provoziert? Ist dieser Hass ein soziales Produkt? Warum steht das Arsenal der
  2564. Aggressionen gegen Frauen nach wie vor bereit, auch in der sogenannten
  2565. &quot;ersten Welt&quot;? Schließt die Antirassismusbewegung schwarze Frauen
  2566. ein? Repräsentieren die Türsteher den Charakter des YAAMs?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2567. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2568. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;
  2569. Sonntag, 16. September 2012: die Frauen behandeln das Problem im Forum ihrer
  2570. Theateraufführung. Eine Zuschauerin kommt auf die Bühne und macht einen
  2571. Vorschlag. Die Frauen der Gruppe entscheiden sich, diesen Vorschlag in die
  2572. Praxis umzusetzen. Nach der Veranstaltung gehen sie in Begleitung der
  2573. solidarischen Zuschauer/innen zum YAAM. Sie führen ihren Protest auf und sehen
  2574. die Unterdrückung von Frauen dadurch nur noch deutlicher.&lt;br /&gt;
  2575. &lt;br /&gt;
  2576. Jetzt ist es notwendig die begonnene Aktion fortzusetzen und dabei die Unterstützung
  2577. von Frauen und von Organisationen, die sich für die Rechte von Frauen
  2578. einsetzen, zu suchen.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;br /&gt;
  2579. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;
  2580. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red;&quot;&gt;FR&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
  2581. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;
  2582. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;br /&gt;
  2583. &lt;span lang=&quot;DE&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2584. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Samedi,
  2585. 15&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;Septembre 2012, 8 femmes qui
  2586. participaient aux rencontres Madeleine International - venant du Mozambique, du
  2587. Brésil, de la Colombie, d&#39;Espagne et d&#39;Allemagne –&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;ont vécu une expérience hors du commun à Berlin.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2588. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2589. &lt;br /&gt;&lt;/div&gt;
  2590. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2591. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Après une
  2592. présentation de théâtre très bien accueilli et une petite fête avec les autres
  2593. participantes, ces 8 femmes comprennent qu&#39;elles ont le droit de sortir et
  2594. découvrir comment sont les nuits à Berlin. Comme il s&#39;agit d&#39;un groupe composé
  2595. essentiellement de femmes noires, travaillant dans le domaine culturel dans
  2596. leur pays d&#39;origine, elles décident de visiter le YAAM, endroit connu comme un
  2597. haut-lieu de réunion socio-politique et artistique de la culture africaine à
  2598. Berlin.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2599. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2600. &lt;br /&gt;&lt;/div&gt;
  2601. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2602. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;En
  2603. arrivant à YAAM, elles réalisent qu&#39;il faut payer pour entrer. Deux femmes
  2604. décident alors de négocier la prix de l&#39;entrée. Elles entrent et se dirigent
  2605. vers l&#39;un des cinq hommes videurs qui gardent l&#39;entrée du lieu:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2606. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2607. &lt;br /&gt;&lt;/div&gt;
  2608. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2609. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;«Nous
  2610. sommes un groupe de femmes et ...&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2611. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2612. &lt;br /&gt;&lt;/div&gt;
  2613. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2614. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;cette
  2615. phrase est brusquement interrompue par un des hommes qui gesticule et indique
  2616. la sortie:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2617. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2618. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;&quot;Sortez
  2619. d&#39;ici, vous n&#39;êtes pas les bienvenues.&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2620. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2621. &lt;br /&gt;&lt;/div&gt;
  2622. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2623. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;La femme
  2624. répond: &quot;Calmez-vous, je voulais juste vous poser une question …&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2625. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2626. &lt;br /&gt;&lt;/div&gt;
  2627. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2628. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Puis un
  2629. deuxième homme assis légèrement derrière le premier, hurle:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2630. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2631. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;&quot;Tu
  2632. n&#39;es qu&#39;une Pute, t&#39;es moche, ta façon de parler me dégoûte.&quot;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2633. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2634. &lt;br /&gt;&lt;/div&gt;
  2635. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2636. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Les
  2637. insultes se multiplient. Commence alors&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp;
  2638. &lt;/span&gt;une inattendue et surprenante décharge de haine... La femme n&#39;accepte
  2639. pas ce traitement, et l&#39;insulte aussi.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2640. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2641. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Soudain,
  2642. Un autre homme lui colle par surprise un coup de poing dans le visage.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2643. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2644. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;L&#39;acte de
  2645. violence verbale se transforme en violence physique.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2646. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2647. &lt;br /&gt;&lt;/div&gt;
  2648. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2649. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Après
  2650. avoir fait face à la brutalité des videurs, les femmes doivent faire face au
  2651. mépris, au machisme et à l&#39;indifférence de la police, comme si c&#39;était elles
  2652. les responsables de ce qui venait de se passer.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2653. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2654. &lt;br /&gt;&lt;/div&gt;
  2655. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2656. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Le
  2657. lendemain, les femmes partagent avec les autres participantes de la
  2658. rencontre&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;Madeleine International
  2659. leurs préoccupations et questionnement : &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2660. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2661. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;-
  2662. Serait-ce la présence de femmes indépendantes qui provoque de la haine chez
  2663. certains hommes?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2664. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2665. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;- Est-ce
  2666. que cette haine est un produit social?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2667. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2668. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;- Pourquoi
  2669. l&#39;arsenal d&#39;agression envers les femmes reste disponible, même dans ce que l&#39;on
  2670. appelle «premier monde»&amp;nbsp;? (notion réciproque à celle de «1/3 monde») &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2671. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2672. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;- Le
  2673. mouvement anti-raciste inclut-il également les femmes noires? &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2674. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2675. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;- Ces
  2676. hommes, videur du YAAM, représentent-ils la proposition du lieu?&lt;/span&gt;&lt;/div&gt;
  2677. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2678. &lt;br /&gt;&lt;/div&gt;
  2679. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2680. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial; mso-ansi-language: FR; mso-bidi-font-family: LucidaGrande; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: LucidaGrande;&quot;&gt;Le
  2681. Dimanche suivant, le 16 Septembre 2012, les femmes ont incorporé ces questions
  2682. dans la session de Forum. Une spectatrice a mis en scène une nouvelle
  2683. proposition, que le groupe de femmes décident de mettre en pratique. Après le
  2684. spectacle, elles courent au YAAM, accompagné de spectatrices et spectateurs
  2685. solidaires, et manifestent devant l&#39;entrée, ce qui, certes, ne résout pas le problème,
  2686. mais aide à approfondir la compréhension de l&#39;oppression.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2687. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2688. &lt;br /&gt;&lt;/div&gt;
  2689. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify; text-autospace: ideograph-numeric;&quot;&gt;
  2690. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial;&quot;&gt;Maintenant,
  2691. nous avons besoin de poursuivre l&#39;action initiée et solliciter l&#39;appui
  2692. d&#39;organisations luttant pour les droits des femmes.&lt;/span&gt;&lt;br /&gt;
  2693. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;
  2694. &lt;span lang=&quot;FR&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;color: red;&quot;&gt;IT&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  2695. &lt;!--EndFragment--&gt;
  2696.  
  2697.  
  2698. &lt;/span&gt;&lt;/div&gt;
  2699. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  2700. &lt;br /&gt;
  2701. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: #333333; line-height: 17px;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;Sabato 15 settembre 2012, 8 donne che partecipavano a Berlino all’incontro Maddalena Internazionale, arrivate dal Mozambico, Brasile, Colombia, Spagna e Germania, hanno vissuto una esperienza duori dal comune.&amp;nbsp;&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
  2702. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: #333333; line-height: 17px;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;Dopo la rappresentazione di uno spettacolo molto ben accolto ed una festicciola con altre partecipanti, queste otto donne decidono di farsi una giro alla scoperta della notte berlinese. Dato che sono in gran parte donne di colore, impegnate nel campo culturale dei rispettivi paesi, decidono di visitare il YAAM, locale conosciuto come punto d’incontro socio-politico e artistico della cultura africana a Berlino.&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
  2703. &lt;span class=&quot;Apple-style-span&quot; style=&quot;color: #333333; line-height: 17px;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;Giunte alla porta del YAAM, sono informate che l’ingresso è a pagamento. Due di loro provano a contrattare sul prezzo dell’entrata. Quindi entrano e si rivolgono ad uno dei ci&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;
  2704. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2705. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;nque funzionari all’ingresso.&lt;br /&gt;“Siamo un gruppo di donne, e…”&lt;br /&gt;Non hanno il tempo di finire la frase, perché uno degli uomini interrompe e gesticolando, indica la porta: “Fuori! Non siete benvenute!”&lt;br /&gt;La donna risponde: “Calma, volevo solo fare una domanda”&lt;/span&gt;&lt;/div&gt;
  2706. &lt;br /&gt;
  2707. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2708. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;Un secondo individuo, seduto dietro al primo, le urla “non sei che una puttana, sei brutta, il tuo modo di parlare mi fa schifo”&lt;br /&gt;Piovono insulti. Una inattesa scarica di odio li anima. La donna non accetta d’essere trattata così, e risponde. D’improvviso, un altro uomo le tira un pugno in faccia. Dalla violenza verbale, passa alla violenza fisica.&lt;/span&gt;&lt;/div&gt;
  2709. &lt;br /&gt;
  2710. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2711. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;Dopo aver affrontato la brutalità dei guardiani del locale, le donne devono ancora vedersela con il disprezzo, il sessismo e l’indifferenza della polizia, come se fossero loro le responsabili dell’accaduto.&lt;/span&gt;&lt;/div&gt;
  2712. &lt;br /&gt;
  2713. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2714. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;L’indomani, le donne condividono con le altre partecipanti all’incontro Maddalena Internazionale la loro angustia ed i loro interrogativi.&lt;br /&gt;“Forse la presenza di donne indipendenti provoca odio in alcuni uomini?”&lt;br /&gt;“Quest’odio è un prodotto della società?”&lt;br /&gt;“Perché l’arsenale di armi aggressive verso le donne è sempre disponibile anche nei paesi detti del primo mondo (nozione reciproca a quella di terzo mondo)?”&lt;br /&gt;“Il movimento antirazzista include anche le donne?”&lt;br /&gt;“Quei guardiani alla porta dello YAAM rappresentano la filosofia del locale?”&lt;/span&gt;&lt;/div&gt;
  2715. &lt;br /&gt;
  2716. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2717. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;br /&gt;La domenica, 16 settembre, le donne incorporano e mettono in scena queste domande durante la sessione di teatro-forum. Una spettatrice entra in scena con una proposta, che le donne decidono di mettere in pratica. Dopo lo spettacolo, si recano allo YAAM, accompagnate da spettatrici e spettatori, e manifestano dinanzi all’entrata. Certo ciò non risolve il problema ma aiuta a approfondire la coscienza dell’oppressione.&lt;/span&gt;&lt;/div&gt;
  2718. &lt;br /&gt;
  2719. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Times;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;color: #333333; line-height: 17px;&quot;&gt;&lt;/span&gt;
  2720. &lt;div class=&quot;text_exposed_show&quot; style=&quot;display: inline;&quot;&gt;
  2721. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial, Helvetica, sans-serif;&quot;&gt;Ora dobbiamo proseguire nell’azione intrapresa e sollecitiamo il sostegno delle organizzazioni che lottano per i diritti delle donne.&lt;/span&gt;&lt;/div&gt;
  2722. &lt;/div&gt;
  2723. &lt;!--EndFragment--&gt;
  2724.  
  2725.  
  2726. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/5436851433558506281/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/09/madalena-international-denounces-en-pt.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/5436851433558506281'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/5436851433558506281'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/09/madalena-international-denounces-en-pt.html' title='Madalena International denounces (EN, PT, ES, DE, FR, IT)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-2345509764972660803</id><published>2012-05-13T07:08:00.001-07:00</published><updated>2012-05-13T07:08:33.833-07:00</updated><title type='text'>Para meu filho, Rodolfo Ribeiro.</title><content type='html'>&lt;!--StartFragment--&gt;
  2727.  
  2728. &lt;br /&gt;
  2729. &lt;div class=&quot;MsoNormal&quot;&gt;
  2730. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Hoje é treze maio, dia de
  2731. preto velho&lt;/span&gt;&lt;/div&gt;
  2732. &lt;div class=&quot;MsoNormal&quot;&gt;
  2733. &lt;span style=&quot;font-family: Arial;&quot;&gt;Segundo domingo do mês: dia
  2734. das mães&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2735. &lt;div class=&quot;MsoNormal&quot;&gt;
  2736. &lt;span style=&quot;font-family: Arial;&quot;&gt;Dia mais que especial:
  2737. aniversário do meu filho&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2738. &lt;div class=&quot;MsoNormal&quot;&gt;
  2739. &lt;span style=&quot;font-family: Arial;&quot;&gt;Ele faz 27 anos de vida. Eu
  2740. 27 na estrada de ser mãe&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2741. &lt;div class=&quot;MsoNormal&quot;&gt;
  2742. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;/div&gt;
  2743. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;/span&gt;&lt;br /&gt;
  2744.  
  2745.  
  2746. &lt;div class=&quot;MsoNormal&quot;&gt;
  2747. &lt;span style=&quot;font-family: Arial;&quot;&gt;O nascimento do meu filho
  2748. gerou minha maternidade&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2749. &lt;div class=&quot;MsoNormal&quot;&gt;
  2750. &lt;span style=&quot;font-family: Arial;&quot;&gt;Metamorfose profunda no modo
  2751. de entender o mundo&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2752. &lt;div class=&quot;MsoNormal&quot;&gt;
  2753. &lt;span style=&quot;font-family: Arial;&quot;&gt;Uma existência cercada de
  2754. questionamentos&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2755. &lt;div class=&quot;MsoNormal&quot;&gt;
  2756. &lt;span style=&quot;font-family: Arial;&quot;&gt;Caminho desconhecido por
  2757. onde não se sabe andar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2758. &lt;div class=&quot;MsoNormal&quot;&gt;
  2759. &lt;br /&gt;&lt;/div&gt;
  2760. &lt;div class=&quot;MsoNormal&quot;&gt;
  2761. &lt;span style=&quot;font-family: Arial;&quot;&gt;Percurso que segui, e sigo,
  2762. com os pés que tenho&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2763. &lt;div class=&quot;MsoNormal&quot;&gt;
  2764. &lt;span style=&quot;font-family: Arial;&quot;&gt;Com o cuidado de oferecer o
  2765. meu melhor&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2766. &lt;div class=&quot;MsoNormal&quot;&gt;
  2767. &lt;span style=&quot;font-family: Arial;&quot;&gt;Que, por certo, nem sempre é
  2768. suficiente&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2769. &lt;div class=&quot;MsoNormal&quot;&gt;
  2770. &lt;span style=&quot;font-family: Arial;&quot;&gt;Mas é máximo que posso a
  2771. cada momento&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2772. &lt;div class=&quot;MsoNormal&quot;&gt;
  2773. &lt;br /&gt;&lt;/div&gt;
  2774. &lt;div class=&quot;MsoNormal&quot;&gt;
  2775. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Filho, te dei o melhor que tinha pra dar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2776. &lt;div class=&quot;MsoNormal&quot;&gt;
  2777. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Mostrei o melhor do que sabia mostrar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2778. &lt;div class=&quot;MsoNormal&quot;&gt;
  2779. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Te contei as melhores histórias que conhecia pra contar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2780. &lt;div class=&quot;MsoNormal&quot;&gt;
  2781. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;O que fiz, certo ou errado, foi o que a mim parecia
  2782. melhor&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2783. &lt;div class=&quot;MsoNormal&quot;&gt;
  2784. &lt;br /&gt;&lt;/div&gt;
  2785. &lt;div class=&quot;MsoNormal&quot;&gt;
  2786. &lt;span style=&quot;font-family: Arial;&quot;&gt;A missão de ser mãe inclui
  2787. erros, excessos, pressões.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2788. &lt;div class=&quot;MsoNormal&quot;&gt;
  2789. &lt;span style=&quot;font-family: Arial;&quot;&gt;Uma mulher tem que ser mãe!
  2790. Ordem indiscutível.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2791. &lt;div class=&quot;MsoNormal&quot;&gt;
  2792. &lt;span style=&quot;font-family: Arial;&quot;&gt;Um papel social repleto de
  2793. imposições e exigências: &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2794. &lt;div class=&quot;MsoNormal&quot;&gt;
  2795. &lt;span style=&quot;font-family: Arial;&quot;&gt;A perfeição da santa, a
  2796. força da mulher-maravilha!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2797. &lt;div class=&quot;MsoNormal&quot;&gt;
  2798. &lt;br /&gt;&lt;/div&gt;
  2799. &lt;div class=&quot;MsoNormal&quot;&gt;
  2800. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sou uma mãe que não deixou
  2801. de ser uma mulher.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2802. &lt;div class=&quot;MsoNormal&quot;&gt;
  2803. &lt;span style=&quot;font-family: Arial;&quot;&gt;Nem santa, nem
  2804. mulher-maravilha&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2805. &lt;div class=&quot;MsoNormal&quot;&gt;
  2806. &lt;span style=&quot;font-family: Arial;&quot;&gt;O que fiz por meu você, meu filho,
  2807. fiz por mim&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2808. &lt;div class=&quot;MsoNormal&quot;&gt;
  2809. &lt;span style=&quot;font-family: Arial;&quot;&gt;Vivi minha vida para deixar que
  2810. viva a sua&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2811. &lt;div class=&quot;MsoNormal&quot;&gt;
  2812. &lt;br /&gt;&lt;/div&gt;
  2813. &lt;div class=&quot;MsoNormal&quot;&gt;
  2814. &lt;span style=&quot;font-family: Arial;&quot;&gt;Evitei sacrifícios e
  2815. martírios &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2816. &lt;div class=&quot;MsoNormal&quot;&gt;
  2817. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para que não se tornassem
  2818. cobranças&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2819. &lt;div class=&quot;MsoNormal&quot;&gt;
  2820. &lt;span style=&quot;font-family: Arial;&quot;&gt;Tentei ser cristalina e
  2821. justa:&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2822. &lt;div class=&quot;MsoNormal&quot;&gt;
  2823. &lt;span style=&quot;font-family: Arial;&quot;&gt;Não como não, e sim como
  2824. sim. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2825. &lt;div class=&quot;MsoNormal&quot;&gt;
  2826. &lt;br /&gt;&lt;/div&gt;
  2827. &lt;div class=&quot;MsoNormal&quot;&gt;
  2828. &lt;span style=&quot;font-family: Arial;&quot;&gt;Talvez você desejasse mais
  2829. disponibilidade&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2830. &lt;div class=&quot;MsoNormal&quot;&gt;
  2831. &lt;span style=&quot;font-family: Arial;&quot;&gt;Ou preferisse algo distinto
  2832. para a vida cotidiana&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2833. &lt;div class=&quot;MsoNormal&quot;&gt;
  2834. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para o que não ficou bem
  2835. resolvido&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2836. &lt;div class=&quot;MsoNormal&quot;&gt;
  2837. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sempre há tempo para conversas&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2838. &lt;div class=&quot;MsoNormal&quot;&gt;
  2839. &lt;br /&gt;&lt;/div&gt;
  2840. &lt;div class=&quot;MsoNormal&quot;&gt;
  2841. &lt;span style=&quot;font-family: Arial;&quot;&gt;Ao mesmo tempo, há coisas
  2842. que são como são&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2843. &lt;div class=&quot;MsoNormal&quot;&gt;
  2844. &lt;span style=&quot;font-family: Arial;&quot;&gt;Não há retorno no tempo, foi
  2845. como foi&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2846. &lt;div class=&quot;MsoNormal&quot;&gt;
  2847. &lt;span style=&quot;font-family: Arial;&quot;&gt;Quando a compreensão ajuda,
  2848. mas não resolve&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2849. &lt;div class=&quot;MsoNormal&quot;&gt;
  2850. &lt;span style=&quot;font-family: Arial;&quot;&gt;Ainda assim, resta a opção
  2851. do perdão&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2852. &lt;div class=&quot;MsoNormal&quot;&gt;
  2853. &lt;br /&gt;&lt;/div&gt;
  2854. &lt;div class=&quot;MsoNormal&quot;&gt;
  2855. &lt;span style=&quot;font-family: Arial;&quot;&gt;A nossa relação de mãe e
  2856. filho é única e eterna&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2857. &lt;div class=&quot;MsoNormal&quot;&gt;
  2858. &lt;span style=&quot;font-family: Arial;&quot;&gt;Indestrutível. Inseparável.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2859. &lt;div class=&quot;MsoNormal&quot;&gt;
  2860. &lt;span style=&quot;font-family: Arial;&quot;&gt;Não há distancia que nos
  2861. separe,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2862. &lt;div class=&quot;MsoNormal&quot;&gt;
  2863. &lt;span style=&quot;font-family: Arial;&quot;&gt;Nem acontecimento que nos desvincule.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2864. &lt;div class=&quot;MsoNormal&quot;&gt;
  2865. &lt;br /&gt;&lt;/div&gt;
  2866. &lt;div class=&quot;MsoNormal&quot;&gt;
  2867. &lt;span style=&quot;font-family: Arial;&quot;&gt;Feliz Aniversário!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2868. &lt;div class=&quot;MsoNormal&quot;&gt;
  2869. &lt;span style=&quot;font-family: Arial;&quot;&gt;Tudo de melhor e mais lindo&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2870. &lt;div class=&quot;MsoNormal&quot;&gt;
  2871. &lt;span style=&quot;font-family: Arial;&quot;&gt;Que os sonhos encontrem&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2872. &lt;div class=&quot;MsoNormal&quot;&gt;
  2873. &lt;span style=&quot;font-family: Arial;&quot;&gt;O caminho dos fatos.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2874. &lt;div class=&quot;MsoNormal&quot;&gt;
  2875. &lt;br /&gt;&lt;/div&gt;
  2876. &lt;div class=&quot;MsoNormal&quot;&gt;
  2877. &lt;span style=&quot;font-family: Arial;&quot;&gt;De sua mãe, com amor!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2878. &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/2345509764972660803/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/para-meu-filho-rodolfo-ribeiro.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2345509764972660803'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2345509764972660803'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/para-meu-filho-rodolfo-ribeiro.html' title='Para meu filho, Rodolfo Ribeiro.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-2886316471472926576</id><published>2012-05-02T03:20:00.002-07:00</published><updated>2012-05-02T03:20:34.321-07:00</updated><title type='text'>2 de mayo de 2012: Año tres.</title><content type='html'>&lt;!--StartFragment--&gt;
  2879.  
  2880. &lt;br /&gt;
  2881. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2882. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial; font-size: 16px;&quot;&gt;Hace semanas, siento un estado inconstante de
  2883. melancolía&lt;/span&gt;&lt;/div&gt;
  2884. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2885. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Estado indefinido…de repente, melancolía.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2886. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2887. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;En la visita a Iraque-kurdistan, aun con tanta
  2888. cosa interesante sucediendo, me vino un vacío…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2889. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2890. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Ausencia de comunicación…de un tipo especial de
  2891. diálogo&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2892. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2893. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Quería escribir sobre lo que veía, sentía y (no)
  2894. entendía…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2895. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2896. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Escribir y mandar el texto para su e-mail.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2897. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2898. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Tengo aún en la bandeja de entrada un archivo
  2899. especial que conserva muchos intercambios de ideas…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2900. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2901. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Escribir, siempre escribir…era lo que me decía.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2902. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2903. &lt;br /&gt;&lt;/div&gt;
  2904. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2905. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Bárbara escribe más!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2906. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2907. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Tú puedes contar lo&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;que viste, pero las palabras
  2908. desaparecen con el viento&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2909. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2910. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Si escribes, la experiencia
  2911. queda, se propaga, se multiplica&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2912. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2913. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Bárbara, tu debería
  2914. escribir más sobre lo que has contado…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2915. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2916. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Escribe sobre eso!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2917. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2918. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Dónde estás ahora?
  2919. Cuéntame!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2920. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2921. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Pero no me digas como fue
  2922. el viaje&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2923. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2924. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Cuando llegaste, ni cuantas
  2925. horas esperaste&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2926. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2927. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Ni me describas con
  2928. cuantitativos&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2929. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2930. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Quiero saber que te
  2931. impresiona&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2932. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2933. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Que te impresiona?&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2934. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2935. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2936. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;
  2937.  
  2938.  
  2939. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2940. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Ahora? Me impresiona la conciencia de la falta..&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2941. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2942. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;El volumen de la ausencia, el espacio del vacío&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2943. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2944. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Me impresiona que aún existan lágrimas&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2945. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2946. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Me impresiona la riqueza y la intensidad de las
  2947. experiencias compartidas&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2948. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2949. &lt;br /&gt;&lt;/div&gt;
  2950. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2951. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Puedo oír el teléfono sonar por la mañana
  2952. temprano en la casa de Santa Teresa&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2953. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2954. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Por la mañana temprano? Sí...yo sabía que
  2955. escucharía la voz ronca exclamar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2956. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2957. &lt;br /&gt;&lt;/div&gt;
  2958. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2959. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Baaaaaaaaaaaarbara! (con la primera A estirad al
  2960. máximo posible)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2961. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2962. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Soy Boal…(como si no lo supiese)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2963. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2964. &lt;br /&gt;&lt;/div&gt;
  2965. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2966. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Si estaba en Rio, llamaba siempre, cada día&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2967. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2968. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Para compartir preocupaciones e ideas, para
  2969. convocar reuniones,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2970. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2971. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Para avisar que había enviado un nuevo artículo
  2972. y esperaba retorno urgente&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2973. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2974. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Para contarme alguna novedad o repetir la última
  2975. con alguna nueva perspectiva…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2976. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2977. &lt;br /&gt;&lt;/div&gt;
  2978. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2979. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Te desperté?&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt; (sí, claro, pero yo siempre respondía:) &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;NOO!!&lt;/i&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2980. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2981. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Claro que no!.&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;..(invariablemente yo estará disponible)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2982. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2983. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;&lt;br /&gt;
  2984. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;Estoy Preocupado con CTO.&lt;/i&gt; (sí,
  2985. siempre…)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2986. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2987. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Tenemos que conseguir
  2988. financiación para garantizar los proyectos…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2989. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2990. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Yo tuve una nueva idea…tu qué
  2991. piensas? Necesito hacer una reunión general…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  2992. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2993. &lt;br /&gt;&lt;/div&gt;
  2994. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2995. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Dedicación amor y cariño por CTO…fue incansable
  2996. en la lucha por este proyecto.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  2997. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  2998. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Por eso no existe sentido en la tentativa de
  2999. amputar a CTO de la historia de Augusto Boal.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3000. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3001. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Demencia…ilusión…absurdo lamentable!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3002. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3003. &lt;br /&gt;&lt;/div&gt;
  3004. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3005. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Fuera de Rio después de un día de actividades te
  3006. escribiría, te mandaría mis impresiones, dudas, certezas e intuiciones...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3007. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3008. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;A la mañana siguiente, sin embargo, encontraría
  3009. una orientación..un retorno...una opinión…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3010. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3011. &lt;br /&gt;&lt;/div&gt;
  3012. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3013. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Que privilegio!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3014. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3015. &lt;br /&gt;&lt;/div&gt;
  3016. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3017. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;En Iraque-Kurdistan, yo quería escribir sobre
  3018. las diversas cosas que me impresionaban&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3019. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3020. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Quería enviarlas a tu e-mail..&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3021. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3022. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Y tener certeza de respuesta,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3023. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3024. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;De orientación, de retorno, de reflexiones, de
  3025. las ponderaciones sinceras y estimulantes…aún así, discrepando…estimulaba.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3026. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3027. &lt;br /&gt;&lt;/div&gt;
  3028. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3029. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Tal vez por eso,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3030. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3031. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Pasados tres años, la ausencia parece aún mas
  3032. presente...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3033. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3034. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;En los temas que me desafían…las ideas que
  3035. nacen…las preguntas que se multiplican&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3036. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3037. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Se que dirías: &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;Que bueno!&lt;/i&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3038. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3039. &lt;br /&gt;&lt;/div&gt;
  3040. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3041. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Sigo reflexionando sobre los temas que
  3042. descubrimos y desarrollamos en CTO&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3043. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3044. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Sigo intentando avanzar…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3045. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3046. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Desde aquí, esta ciudad sin mar…(tu imaginabas&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;que era imposible que yo viviese lejos
  3047. del mar...estoy aquí pero siempre visito el mar, claro)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3048. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3049. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Y otros parajes mundo afuera…sigo intentando
  3050. avanzar.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3051. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3052. &lt;br /&gt;&lt;/div&gt;
  3053. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3054. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Como base, me alimento de la ética y la
  3055. solidaridad&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;que aprendimos a
  3056. compartir bajo su orientación.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3057. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3058. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Siempre me pregunto el sentido de cada paso,
  3059. busco considerar las críticas y las observaciones ajenas.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3060. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3061. &lt;br /&gt;&lt;/div&gt;
  3062. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3063. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Para muchos, soy&lt;span style=&quot;mso-spacerun: yes;&quot;&gt;&amp;nbsp; &lt;/span&gt;“fundamentalista”&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3064. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3065. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Sí... increíble que en este término sea usado
  3066. entre practicantes del Teatro del Oprimido.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3067. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3068. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Pero…es así.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3069. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3070. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;También me clasifican como purista y radical.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3071. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3072. &lt;br /&gt;&lt;/div&gt;
  3073. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3074. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Como aprendí contigo que radical es quien va a
  3075. la raíz de las cosas…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3076. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3077. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Cuido con precio mi radicalidad.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3078. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3079. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Sí, las Raíces…soy feliz porque las tengo.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3080. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3081. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Y Alas? Aun en desarrollo…&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3082. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3083. &lt;br /&gt;&lt;/div&gt;
  3084. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3085. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Con placer sigo su orientación: &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;es fundamental escribir!&lt;/i&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3086. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3087. &lt;span lang=&quot;ES&quot; style=&quot;font-family: Arial; font-size: 12.0pt; mso-bidi-font-family: Arial; mso-bidi-font-size: 9.0pt; mso-fareast-font-family: &amp;quot;Times New Roman&amp;quot;; mso-fareast-language: ES;&quot;&gt;Estoy profundamente agradecida por todo.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3088. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3089. &lt;br /&gt;&lt;/div&gt;
  3090. &lt;div class=&quot;MsoNormal&quot; style=&quot;line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3091. &lt;br /&gt;&lt;/div&gt;
  3092. &lt;div class=&quot;MsoNormal&quot; style=&quot;background: #FFFFCC; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;&quot;&gt;
  3093. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;i&gt;&lt;br /&gt;&lt;/i&gt;&lt;/span&gt;&lt;/div&gt;
  3094. &lt;div class=&quot;MsoNormal&quot;&gt;
  3095. &lt;br /&gt;&lt;/div&gt;
  3096. &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/2886316471472926576/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/2-de-mayo-de-2012-ano-tres.html#comment-form' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2886316471472926576'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2886316471472926576'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/2-de-mayo-de-2012-ano-tres.html' title='2 de mayo de 2012: Año tres.'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-6801294897007655577</id><published>2012-05-02T01:19:00.000-07:00</published><updated>2013-01-12T10:43:02.450-08:00</updated><title type='text'>2 de maio de 2012: Ano três</title><content type='html'>&lt;div align=&quot;center&quot; class=&quot;MsoNormal&quot; style=&quot;text-align: center;&quot;&gt;
  3097. &lt;div style=&quot;text-align: left;&quot;&gt;
  3098. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Há semanas, sinto um estado inconstante de melancolia&lt;/span&gt;&lt;/div&gt;
  3099. &lt;/div&gt;
  3100. &lt;div class=&quot;MsoNormal&quot;&gt;
  3101. &lt;span style=&quot;font-family: Arial;&quot;&gt;Estado indefinido... de
  3102. repente, melancolia...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3103. &lt;div class=&quot;MsoNormal&quot;&gt;
  3104. &lt;span style=&quot;font-family: Arial;&quot;&gt;Na visita ao
  3105. Iraque-Curdistão, mesmo com tanta coisa interessante acontecendo, me veio um
  3106. vazio...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3107. &lt;div class=&quot;MsoNormal&quot;&gt;
  3108. &lt;span style=&quot;font-family: Arial;&quot;&gt;Ausência de comunicação...
  3109. de um tipo especial de diálogo&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3110. &lt;div class=&quot;MsoNormal&quot;&gt;
  3111. &lt;span style=&quot;font-family: Arial;&quot;&gt;Queria escrever sobre o que
  3112. via, sentia e (não) entendia...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3113. &lt;div class=&quot;MsoNormal&quot;&gt;
  3114. &lt;span style=&quot;font-family: Arial;&quot;&gt;Escrever e mandar o texto
  3115. para o seu e-mail&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3116. &lt;div class=&quot;MsoNormal&quot;&gt;
  3117. &lt;span style=&quot;font-family: Arial;&quot;&gt;Tenho ainda na caixa de
  3118. correio um arquivo especial que guarda muitas trocas de idéias...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3119. &lt;div class=&quot;MsoNormal&quot;&gt;
  3120. &lt;span style=&quot;font-family: Arial;&quot;&gt;Escrever, sempre escrever...
  3121. era o que me dizia.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3122. &lt;div class=&quot;MsoNormal&quot;&gt;
  3123. &lt;br /&gt;&lt;/div&gt;
  3124. &lt;div class=&quot;MsoNormal&quot;&gt;
  3125. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Bárbara, escreve mais&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3126. &lt;div class=&quot;MsoNormal&quot;&gt;
  3127. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Você pode contar o que viu, mas as palavras
  3128. desaparecem no vento&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3129. &lt;div class=&quot;MsoNormal&quot;&gt;
  3130. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Se escrever, a experiência fica, se propaga, se
  3131. multiplica&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3132. &lt;div class=&quot;MsoNormal&quot;&gt;
  3133. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Bárbara, você devia escrever mais sobre o que tem me
  3134. contado...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3135. &lt;div class=&quot;MsoNormal&quot;&gt;
  3136. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Escreve sobre isso!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3137. &lt;div class=&quot;MsoNormal&quot;&gt;
  3138. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Onde você está agora? Conte!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3139. &lt;div class=&quot;MsoNormal&quot;&gt;
  3140. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Mas não me diga como foi a viagem, &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3141. &lt;div class=&quot;MsoNormal&quot;&gt;
  3142. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Quando chegou, nem quantas horas esperou&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3143. &lt;div class=&quot;MsoNormal&quot;&gt;
  3144. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Nem me descreva os quantitativos&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3145. &lt;div class=&quot;MsoNormal&quot;&gt;
  3146. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Quero saber o que te impressiona...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3147. &lt;div class=&quot;MsoNormal&quot;&gt;
  3148. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;O que te impressiona?&lt;/span&gt;&lt;/i&gt;&lt;br /&gt;
  3149. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;/i&gt;&lt;br /&gt;
  3150. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;
  3151. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;/i&gt;&lt;br /&gt;
  3152. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3153. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Agora? Me impressiona a
  3154. consciência da falta...&lt;/span&gt;&lt;br /&gt;
  3155. &lt;div class=&quot;MsoNormal&quot;&gt;
  3156. &lt;span style=&quot;font-family: Arial;&quot;&gt;O volume da ausência, o
  3157. espaço do vazio...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3158. &lt;div class=&quot;MsoNormal&quot;&gt;
  3159. &lt;span style=&quot;font-family: Arial;&quot;&gt;Me impressiona que ainda
  3160. existam lágrimas...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3161. &lt;div class=&quot;MsoNormal&quot;&gt;
  3162. &lt;span style=&quot;font-family: Arial;&quot;&gt;Me impressiona a riqueza e a
  3163. intensidade das experiências partilhadas&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3164. &lt;div class=&quot;MsoNormal&quot;&gt;
  3165. &lt;br /&gt;&lt;/div&gt;
  3166. &lt;div class=&quot;MsoNormal&quot;&gt;
  3167. &lt;span style=&quot;font-family: Arial;&quot;&gt;Posso ouvir o telefone tocar
  3168. de manhã cedo na casa de Santa Teresa&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3169. &lt;div class=&quot;MsoNormal&quot;&gt;
  3170. &lt;span style=&quot;font-family: Arial;&quot;&gt;De manhã cedo? Sim... eu
  3171. sabia que escutaria a voz rouca exclamar&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3172. &lt;div class=&quot;MsoNormal&quot;&gt;
  3173. &lt;br /&gt;&lt;/div&gt;
  3174. &lt;div class=&quot;MsoNormal&quot;&gt;
  3175. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Baaaaaaaaaaaaaarbara!&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt; (com o primeiro A esticado ao máximo possível)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3176. &lt;div class=&quot;MsoNormal&quot;&gt;
  3177. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Aqui é Boal&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;...
  3178. (como se eu não soubesse...)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3179. &lt;div class=&quot;MsoNormal&quot;&gt;
  3180. &lt;br /&gt;&lt;/div&gt;
  3181. &lt;div class=&quot;MsoNormal&quot;&gt;
  3182. &lt;span style=&quot;font-family: Arial;&quot;&gt;Se estivesse no Rio, ligaria
  3183. sempre, a cada dia&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3184. &lt;div class=&quot;MsoNormal&quot;&gt;
  3185. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para partilhar preocupações
  3186. e idéias, para marcar reuniões,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3187. &lt;div class=&quot;MsoNormal&quot;&gt;
  3188. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para avisar que havia
  3189. enviado um novo artigo e esperava retorno urgente&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3190. &lt;div class=&quot;MsoNormal&quot;&gt;
  3191. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para contar alguma novidade
  3192. ou repetir a última com alguma nova perspectiva... &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3193. &lt;div class=&quot;MsoNormal&quot;&gt;
  3194. &lt;br /&gt;&lt;/div&gt;
  3195. &lt;div class=&quot;MsoNormal&quot;&gt;
  3196. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Te acordei&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;?
  3197. (Sim, por certo, mas eu, por certo, responderia:) &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;NÃO&lt;/i&gt;!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3198. &lt;div class=&quot;MsoNormal&quot;&gt;
  3199. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Claro que não!&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;... (Invariavelmente, eu estaria disponível)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3200. &lt;div class=&quot;MsoNormal&quot;&gt;
  3201. &lt;br /&gt;&lt;/div&gt;
  3202. &lt;div class=&quot;MsoNormal&quot;&gt;
  3203. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Estou preocupado com o CTO&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;. (Sim, sempre...)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3204. &lt;div class=&quot;MsoNormal&quot;&gt;
  3205. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Temos que conseguir financiamentos, garantir os
  3206. projetos&lt;/span&gt;&lt;/i&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3207. &lt;div class=&quot;MsoNormal&quot;&gt;
  3208. &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span style=&quot;font-family: Arial;&quot;&gt;Eu tive uma nova idéia... O que você acha? Preciso de
  3209. uma reunião geral...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/div&gt;
  3210. &lt;div class=&quot;MsoNormal&quot;&gt;
  3211. &lt;br /&gt;&lt;/div&gt;
  3212. &lt;div class=&quot;MsoNormal&quot;&gt;
  3213. &lt;span style=&quot;font-family: Arial;&quot;&gt;Dedicação, amor e carinho
  3214. pelo CTO... foi incansável na luta por esse projeto.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3215. &lt;div class=&quot;MsoNormal&quot;&gt;
  3216. &lt;br /&gt;&lt;/div&gt;
  3217. &lt;div class=&quot;MsoNormal&quot;&gt;
  3218. &lt;span style=&quot;font-family: Arial;&quot;&gt;Por isso não existe sentido
  3219. na tentativa de amputar o CTO da história de Augusto Boal.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3220. &lt;div class=&quot;MsoNormal&quot;&gt;
  3221. &lt;span style=&quot;font-family: Arial;&quot;&gt;Demência... ilusão...
  3222. absurdo lamentável!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3223. &lt;div class=&quot;MsoNormal&quot;&gt;
  3224. &lt;br /&gt;&lt;/div&gt;
  3225. &lt;div class=&quot;MsoNormal&quot; style=&quot;margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;&quot;&gt;
  3226. &lt;span style=&quot;font-family: Arial;&quot;&gt;Fora do Rio, depois de um dia de atividades, te escreveria, mandaria minhas impressões, dúvidas, certezas e intuições...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3227. &lt;div class=&quot;MsoNormal&quot;&gt;
  3228. &lt;span style=&quot;font-family: Arial;&quot;&gt;Na manhã seguinte, por certo, encontraria uma orientação... um retorno... uma opinião...&lt;/span&gt;&lt;/div&gt;
  3229. &lt;div class=&quot;MsoNormal&quot; style=&quot;margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;&quot;&gt;
  3230. &lt;br /&gt;&lt;/div&gt;
  3231. &lt;div class=&quot;MsoNormal&quot; style=&quot;margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;&quot;&gt;
  3232. &lt;span style=&quot;font-family: Arial;&quot;&gt;Que privilégio!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3233. &lt;div class=&quot;MsoNormal&quot;&gt;
  3234. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3235. &lt;div class=&quot;MsoNormal&quot;&gt;
  3236. &lt;span style=&quot;font-family: Arial;&quot;&gt;No Iraque-Curdistão, eu
  3237. queria escrever sobre as diversas coisas que me impressionavam...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3238. &lt;div class=&quot;MsoNormal&quot;&gt;
  3239. &lt;span style=&quot;font-family: Arial;&quot;&gt;Queria enviar para o teu
  3240. e-mail...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3241. &lt;div class=&quot;MsoNormal&quot;&gt;
  3242. &lt;span style=&quot;font-family: Arial;&quot;&gt;E ter &amp;nbsp;a certeza da resposta,&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3243. &lt;div class=&quot;MsoNormal&quot;&gt;
  3244. &lt;span style=&quot;font-family: Arial;&quot;&gt;Da orientação, do retorno,
  3245. das reflexões, das ponderações sinceras e estimulantes... mesmo discordando...
  3246. estimulava.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3247. &lt;div class=&quot;MsoNormal&quot;&gt;
  3248. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3249. &lt;div class=&quot;MsoNormal&quot;&gt;
  3250. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;Talvez por isso,&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;
  3251. &lt;div class=&quot;MsoNormal&quot;&gt;
  3252. &lt;span style=&quot;font-family: Arial;&quot;&gt;Passados três anos, a ausência
  3253. pareça ainda mais presente...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3254. &lt;div class=&quot;MsoNormal&quot;&gt;
  3255. &lt;span style=&quot;font-family: Arial;&quot;&gt;Nos temas que me desafiam...
  3256. nas idéias que nascem... nas perguntas que se multiplicam...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3257. &lt;div class=&quot;MsoNormal&quot;&gt;
  3258. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sei que você diria: &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;Que bom!&lt;/i&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3259. &lt;div class=&quot;MsoNormal&quot;&gt;
  3260. &lt;br /&gt;&lt;/div&gt;
  3261. &lt;div class=&quot;MsoNormal&quot;&gt;
  3262. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sigo refletindo sobre os
  3263. temas que levantamos e desenvolvemos no CTO&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3264. &lt;div class=&quot;MsoNormal&quot;&gt;
  3265. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sigo tentando avançar... &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3266. &lt;div class=&quot;MsoNormal&quot;&gt;
  3267. &lt;span style=&quot;font-family: Arial;&quot;&gt;Daqui dessa cidade sem
  3268. mar... (você imaginava ser impossível que eu vivesse longe do mar... estou aqui... mas sempre visito o mar... claro!)&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3269. &lt;div class=&quot;MsoNormal&quot;&gt;
  3270. &lt;span style=&quot;font-family: Arial;&quot;&gt;E de outras paragens mundo
  3271. afora... sigo tentando avançar.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3272. &lt;div class=&quot;MsoNormal&quot;&gt;
  3273. &lt;br /&gt;&lt;/div&gt;
  3274. &lt;div class=&quot;MsoNormal&quot;&gt;
  3275. &lt;span style=&quot;font-family: Arial;&quot;&gt;Como base, me alimento da
  3276. ética e da solidariedade que aprendemos a partilhar sob sua orientação.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3277. &lt;div class=&quot;MsoNormal&quot;&gt;
  3278. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sempre me pergunto o sentido
  3279. de cada passo, busco considerar as críticas e as observações alheias.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3280. &lt;div class=&quot;MsoNormal&quot;&gt;
  3281. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3282. &lt;div class=&quot;MsoNormal&quot;&gt;
  3283. &lt;span style=&quot;font-family: Arial;&quot;&gt;Para muitos, sou
  3284. “fundamentalista”.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3285. &lt;div class=&quot;MsoNormal&quot;&gt;
  3286. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sim... inacreditável que
  3287. esse termo seja usado entre praticantes de Teatro do Oprimido.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3288. &lt;div class=&quot;MsoNormal&quot;&gt;
  3289. &lt;span style=&quot;font-family: Arial;&quot;&gt;Mas é... é assim.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3290. &lt;div class=&quot;MsoNormal&quot;&gt;
  3291. &lt;span style=&quot;font-family: Arial;&quot;&gt;Também me classificam como
  3292. purista e radical.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3293. &lt;div class=&quot;MsoNormal&quot;&gt;
  3294. &lt;br /&gt;&lt;/div&gt;
  3295. &lt;div class=&quot;MsoNormal&quot;&gt;
  3296. &lt;span style=&quot;font-family: Arial;&quot;&gt;Como aprendi contigo que
  3297. radical é quem vai à raiz das coisas...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3298. &lt;div class=&quot;MsoNormal&quot;&gt;
  3299. &lt;span style=&quot;font-family: Arial;&quot;&gt;Cuido com apreço de minha
  3300. radicalidade.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3301. &lt;div class=&quot;MsoNormal&quot;&gt;
  3302. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sim, as Raízes... sou feliz
  3303. porque as tenho.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3304. &lt;div class=&quot;MsoNormal&quot;&gt;
  3305. &lt;span style=&quot;font-family: Arial;&quot;&gt;As asas? Ainda em
  3306. desenvolvimento...&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3307. &lt;div class=&quot;MsoNormal&quot;&gt;
  3308. &lt;br /&gt;&lt;/div&gt;
  3309. &lt;div class=&quot;MsoNormal&quot;&gt;
  3310. &lt;span style=&quot;font-family: Arial;&quot;&gt;Com prazer, sigo sua orientação: é fundamental escrever!&lt;/span&gt;&lt;/div&gt;
  3311. &lt;div class=&quot;MsoNormal&quot;&gt;
  3312. &lt;span style=&quot;font-family: Arial;&quot;&gt;Sou profundamente agradecida por tudo.&lt;/span&gt;&lt;/div&gt;
  3313. </content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/6801294897007655577/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/2-de-maio-de-2012-ano-tres-ha-semanas.html#comment-form' title='1 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6801294897007655577'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/6801294897007655577'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/05/2-de-maio-de-2012-ano-tres-ha-semanas.html' title='2 de maio de 2012: Ano três'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>1</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-1456170535812826011</id><published>2012-04-23T12:05:00.002-07:00</published><updated>2012-04-23T12:24:52.790-07:00</updated><title type='text'>Iraque, qual Iraque?</title><content type='html'>&lt;div style=&quot;text-align: justify;&quot;&gt;
  3314. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Fui
  3315. convidada a integrar uma caravana internacional – composta por artistas
  3316. dispostos a dar sua contribuição voluntária – para participar da Conferencia &lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;“Por quê teatro?”&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;. Iniciativa que tem
  3317. como objetivo incluir a questão cultural na discussão do re-desenvolvimento do
  3318. Iraque.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3319. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3320. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3321. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3322. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;O
  3323. convite me despertou dezenas de perguntas, inquietações, preocupações e muita
  3324. curiosidade. Pedi tempo pra pensar... e me perguntar qual seria a minha razão
  3325. para integrar essa caravana voluntária rumo ao Iraque? &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3326. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3327. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3328. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3329. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Iraque
  3330. foi, e continua sendo, tema de muitas discussões acirradas. Verbalmente, sempre
  3331. me posiciono com veemência, tenho opinião. De repente, aparece a oportunidade
  3332. de ter um contato direto com a realidade, de contribuir de forma modesta, porém
  3333. concreta, com a construção de um outro mundo possível. Encaminhei resposta
  3334. positiva aos organizadores.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3335. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3336. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3337. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3338. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Sim,
  3339. mas... Como, quando, com quem, por quanto tempo? Em qual Iraque?&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3340. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3341. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;
  3342. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3343. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3344. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;No
  3345. Iraque-Curdistão, que é Iraque e, ao mesmo tempo não é, conhecido como Região
  3346. do Curdistão, com idioma próprio (curdo) e governo autônomo. Uma região que
  3347. carrega traumas profundos, em especial, do período do governo Saddam Hussein (campanhas
  3348. genocidas e utilização de armas químicas). Atualmente, a região é uma força
  3349. econômica importante e constitui a área mais segura e estável do Iraque.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3350. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3351. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3352. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3353. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Primeira
  3354. parada, Erbil. Capital da Região do Curdistão, que existe a cerca de 7 mil
  3355. anos, estando ininterruptamente habitada. Mais que o triplo do tempo histórico
  3356. do cristianismo. Entretanto, o caos urbano – carros particulares e taxis, e sem
  3357. transporte público visível – ofusca essa perspectiva histórica.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3358. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3359. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3360. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3361. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;No
  3362. café com o grupo de conferencistas, uma das organizadoras, que estivera em
  3363. Bagdá dias antes, comenta que testemunhou o primeiro ataque a bomba de sua
  3364. vida. Conta os detalhes sobre o carro que explodiu. De repente, percebe que
  3365. estou atenta à conversa, imediatamente me diz: mas não foi aqui na Região do
  3366. Curdistão, foi no Iraque, distante daqui. E eu pergunto, a quanto tempo de
  3367. distancia. E ela me da resposta que, pelo menos pra ela, parecia
  3368. tranqüilizadora: &lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;uma hora daqui&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3369. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3370. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3371. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3372. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Quase
  3373. ri... parecia conversa de carioca falando sobre a violência na cidade, onde é
  3374. perigoso e onde não é.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3375. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3376. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3377. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3378. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Rumamos
  3379. à cerimônia de abertura da Conferencia. Antes do evento, as diplomacias.
  3380. Autoridades, autoridades-assistentes, chefes, assistentes dos chefes,
  3381. jornalistas e equipe de apoio. Grande maioria composta por homens. Entre
  3382. visitantes internacionais, somos quatro mulheres (Brasil, Uganda e Alemanha).
  3383. Entre locais, uma mulher.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3384. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3385. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3386. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3387. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Inicia-se
  3388. a cerimônia. Falas de abertura são pronunciadas e traduzidas por homens. Na
  3389. platéia, homens, quase todos engravatados. Mulheres, algumas poucas. Fora as
  3390. estrangeiras, três ou quatro. Meu constrangimento é visível... &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3391. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3392. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3393. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3394. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Segue
  3395. a cerimônia com a apresentação da performance produzida por artistas locais e dirigida
  3396. por Jessica Khaawa (Uganda). A única mulher que se pronuncia na noite. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3397. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3398. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3399. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3400. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;A
  3401. conferencia está oficialmente aberta e programada para acontecer nas três
  3402. províncias da Região do&amp;nbsp; Curdistão:
  3403. Erbil, Dohuk e Suleymaniya. Formamos três grupos de conferencistas que se
  3404. alternam nas províncias.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3405. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3406. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3407. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3408. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Meu
  3409. grupo parte em viagem noturna de carro para Dohuk. Passamos por quase uma
  3410. dezena de checkpoints, cada um com sua própria estratégia de controle, que
  3411. varia dependendo da proximidade com os caminhos que seguem para o sul do
  3412. Iraque. Alguma tensão nos acompanha. Minha experiência com checkpoints, na
  3413. Palestina, e com blitz da policia, no Rio de Janeiro, me ajude a ficar
  3414. tranqüila. Atenta, mas tranqüila.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3415. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3416. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3417. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3418. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;No
  3419. caminho, se nota a falta de vegetação. Mesmo com existindo rios e clima
  3420. agradável, falta vegetação. Um colega comenta que na região existiam florestas
  3421. como as do Irã, mas, por serem áreas de resistência dos curdos, foram
  3422. exterminadas por Saddam. Em algumas áreas, se percebe o esforço de
  3423. reflorestamento.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3424. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3425. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3426. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3427. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Chegamos
  3428. a Dohuk, uma cidade em construção. Impressionante a quantidade de construções
  3429. modernas. Muitos prédios de apartamentos. Amplas áreas com casas luxuosas, que revelam
  3430. o alto nível econômico dos moradores. Tudo construído nos últimos cerca de 25
  3431. anos. Saímos de uma cidade de 7mil anos para uma recém criada, onde não parece
  3432. faltar recursos. Não há nenhum sinal de guerra. Tudo parece novo. Diversos
  3433. canteiros de obra, demonstram que é grande a expectativa de ampliação da
  3434. população.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3435. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3436. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3437. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3438. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;Primeiro
  3439. dia de Conferencia. Estudantes da Universidade de Dohuk enchem a sala. No meu
  3440. grupo de conferencistas: eu, um japonês e um alemão. Mais uma vez, a platéia é
  3441. majoritariamente formada por homens. Dessa vez, jovens e sem gravata. Faço
  3442. jogos de aquecimento, apresento a árvore do Teatro do Oprimido, e abro o debate
  3443. com os estudantes.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3444. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3445. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;
  3446. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3447. &lt;span style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: large;&quot;&gt;No
  3448. debate, são as mulheres que se destacam, as que querem saber, as que mais
  3449. perguntam. No final, um rapaz se posiciona e expressa toda a sua desesperança
  3450. em uma sociedade economicamente bem sucedida que se entrega ao consumismo
  3451. fútil, entendendo-o como qualidade de vida.&amp;nbsp;&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/1456170535812826011/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/04/iraque-qual-iraque.html#comment-form' title='9 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1456170535812826011'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1456170535812826011'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2012/04/iraque-qual-iraque.html' title='Iraque, qual Iraque?'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>9</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-2644646127345603952</id><published>2011-12-12T12:17:00.000-08:00</published><updated>2012-04-23T12:23:30.617-07:00</updated><title type='text'>Teatro do Oprimido Do Oprimido</title><content type='html'>&lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3452. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial; font-size: medium;&quot;&gt;Estive duas semanas em Portugal. Porto e Lisboa. Cidades lindas, charmosas, receptivas. Do centro histórico do Porto até o bairro da Cova da Moura, em Lisboa, a percepção da arquitetura, da culinária, da simpatia, do racismo difuso e de um certo complexo de inferioridade pareceu-me familiar.&lt;/span&gt;&lt;/div&gt;
  3453. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3454. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;O Teatro do Oprimido foi o meio de transporte.  Em duas semanas: mostra de espetáculos, painel de discussão, visita a duas comunidades, seminário teórico, workshop de Teatro-Fórum, supervisão de multiplicadores e Laboratório Madalena.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3455. &lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3456. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;A convite do PELE&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn2&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;, que sedia o Núcleo de Teatro do Oprimido – NTO-Porto, participei do Encontro de Arte e Comunidade, de 21 a 27 de Novembro de 2011, no Porto. Tive a imensa satisfação de constatar que o Teatro do Oprimido que está sendo feito em Portugal é Do Oprimido.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3457. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3458. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;No Porto, assisti produções teatrais de diversos grupos – jovens, mulheres, trabalhadores, idosos – e corajosas atuações de Curingas&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn3&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt; comunitários, que estimulavam platéias super-lotadas a discutir problemas da vida cotidiana e a buscar alternativas de superação. Produções bem cuidadas representavam temas urgentes. Grupos de oprimidos ocupavam o centro do palco, usavam corpos, vozes e criatividade para expressar opiniões, idéias e dúvidas.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3459. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3460. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Tanto no seminário teórico quanto no workshop que ministrei, no Porto, a presença de representantes desses coletivos teatrais demonstrava  o profundo compromisso com o desenvolvimento comunitário. A gente das comunidades partilhando sua rica experiência com trabalhadores sociais, praticantes e estudiosos do Teatro do Oprimido. Um ambiente respeitoso e criativo, que refletia uma visão arrojada da necessidade de investir na formação de multiplicadores locais para garantir autonomia de percurso.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3461. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3462. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Na discussão sobre o Teatro do Oprimido em Portugal pôde-se constatar a vitalidade do trabalho de José Soeiro e do grupo &lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Estudantes por Empréstimo&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;, através do Teatro Legislativo e de ações concretas. E saber que também em Algarves se avança na criação de grupos comunitários.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3463. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3464. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Em Lisboa, com a equipe do GTO-Lx&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn4&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;, realizamos a segunda supervisão específica voltada para a qualificação de multiplicadores dos grupos comunitários, com o objetivo de garantir a autonomia desses coletivos. Os encontros aconteceram na Cova da Moura, bairro com majoritária presença de migrantes africanos, onde se faz Teatro do Oprimido há mais de 5 anos. &lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3465. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3466. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;No final de semana, o Laboratório Madalena reuniu mulheres que são familiares dos jovens que integram os grupos comunitários do GTO-Lx e representantes de organizações de defesa dos direitos da mulher. Diversidade de experiências que revelou profundas identidades.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3467. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3468. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Me lembro de ter estado em Portugal em 2006 para o seminário Educar o Outro&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn5&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;, realizado em Coimbra, a fim de apresentar o projeto Teatro do Oprimido nas Prisões&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn6&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[6]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;. Nessa época, havia pessoas multiplicando o Teatro do Oprimido, as quais tinham participado do workshop de Teatro-Fórum realizado no Fórum Social Português, em 2005, ministrado por Helen Sarapeck e Geo Britto, do CTO&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftn7&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;[7]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;. Na mesma época, em Lisboa, Gisella Mendoza plantava as primeiras sementes do GTO-Lx.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3469. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3470. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Agora, em 2011, constatei a potencia da difusão do Teatro do Oprimido em Portugal. Mais que isso, a vitalidade de uma prática comprometida com os fundamentos do Método, que está sendo aplicado a partir de suas raízes e visando à produção de ações concretas. Conheci Curingas comprometidos com o trabalho comunitário. Artistas sendo ativistas. Participei de discussões teóricas alimentadas por experiências práticas.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3471. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3472. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Entre o Porto e Lisboa, testemunhei a prática do Teatro do Oprimido Do Oprimido, no qual a definição de Curinga está diretamente associada ao trabalho com grupos de oprimidos. A prática do Fórum visa à transformação da realidade. A descoberta coletiva é o grande espetáculo. Nessa prática, não há espaço para a personificação de talentos individuais, mas sim para a celebração das potencialidades de cada um dentro da obra coletiva.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3473. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3474. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;No Teatro do Oprimido, que é realmente Do Oprimido, ao invés da indústria de workshops catárticos de auto-ajuda visando a consumidores especiais, da &lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;psicologização&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt; e individualização dos problemas, da valorização do artista singular, celebramos a produção coletiva, a análise investigativa, a organização da luta, a transformação da realidade.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3475. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3476. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Desde que Boal passou por Portugal, em meados da década de 1970, foram necessárias mais de três décadas para o Teatro do Oprimido se estabelecer no país. A boa notícia é que esta prática está se consolidando em bases comunitárias. Desejo que esse seja o alicerce para mais um movimento do Teatro do Oprimido.&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3477. &lt;div class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;
  3478. &lt;span class=&quot;Apple-style-span&quot; style=&quot;font-family: Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-size: medium;&quot;&gt;Viva Boal!&lt;/span&gt;&lt;/span&gt;&lt;/div&gt;
  3479. &lt;div style=&quot;mso-element: footnote-list;&quot;&gt;
  3480. &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; /&gt;
  3481. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3482. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3483. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn1&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; &lt;/span&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;Socióloga, atriz e Kuringa do Teatro do Oprimido. Coordenadora do Centro de Teatro do Oprimido até 2008, trabalhou com Augusto Boal por duas décadas em produções artísticas e na pesquisa/concepção de técnicas teatrais como o Teatro Legislativo e a Estética do Oprimido. Uma das idealizadoras do Laboratório Madalena – Teatro das Oprimidas, inovadora experiência estética sobre as especificidades das opressões enfrentadas pelas mulheres. Desenvolve pesquisas na área da Estética do Oprimido e do Arco-íris do Desejo (conjunto de técnicas introspectivas). Diretora artística do espaço KURINGA (Alemanha) e editora da revista Metaxis (Brasil). &lt;a href=&quot;mailto:barbarasantos@kuringa.org&quot;&gt;barbarasantos@kuringa.org&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;
  3484. &lt;/div&gt;
  3485. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3486. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3487. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn2&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Espaço de Contato Social e Cultural &lt;a href=&quot;http://www.apele.org/site/&quot;&gt;http://www.apele.org/site/&lt;/a&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3488. &lt;/div&gt;
  3489. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3490. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3491. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn3&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Facilitadores do dialogo entre palco e platéia na busca de alternativas para o problema encenado.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3492. &lt;/div&gt;
  3493. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3494. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3495. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn4&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Grupo de Teatro do Oprimido GTO-Lisboa &lt;a href=&quot;http://www.facebook.com/GTOLX&quot;&gt;http://www.facebook.com/GTOLX&lt;/a&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3496. &lt;/div&gt;
  3497. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3498. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3499. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn5&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Seminário Nacional 8 e 9 de Março de 2006, Educar o Outro – as questões de Gênero, dos Direitos Humanos e da Educação nas Prisões Portuguesas. &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3500. &lt;/div&gt;
  3501. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3502. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3503. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn6&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[6]&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Projeto realizado de 2001 a 2006, no sistema penitenciário de dez estados brasileiros, em mais de uma centena de presídios, pelo Centro de Teatro do Oprimido, com financiamento do Ministério da Justiça e adesão de dez Secretarias Estaduais. Direção artística de Augusto Boal e coordenação de Bárbara Santos.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3504. &lt;/div&gt;
  3505. &lt;div id=&quot;ftn&quot; style=&quot;mso-element: footnote;&quot;&gt;
  3506. &lt;div class=&quot;MsoFootnoteText&quot;&gt;
  3507. &lt;a href=&quot;http://www.blogger.com/post-create.g?blogID=3626548703768687465#_ftnref&quot; name=&quot;_ftn7&quot; style=&quot;mso-footnote-id: ftn;&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt;[7]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-size: 9pt;&quot;&gt; Centro de Teatro do Oprimido &lt;a href=&quot;http://www.cto.org.br/&quot;&gt;www.cto.org.br&lt;/a&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/div&gt;
  3508. &lt;/div&gt;
  3509. &lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/2644646127345603952/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2011/12/teatro-do-oprimido-do-oprimido-barbara.html#comment-form' title='357 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2644646127345603952'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2644646127345603952'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2011/12/teatro-do-oprimido-do-oprimido-barbara.html' title='Teatro do Oprimido Do Oprimido'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>357</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-4425531792317062420</id><published>2011-07-28T05:41:00.000-07:00</published><updated>2011-07-28T05:48:39.608-07:00</updated><title type='text'>L&#39;art du Jokering / Kuringar (Français)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;   style=&quot;font-size:11.0pt; mso-bidi-font-family:Arial;mso-bidi- mso-ansi-language:FRfont-family:Helvetica;font-size:9.5pt;&quot;&gt;&lt;b&gt;Bárbara Santos&lt;/b&gt;&lt;span class=&quot;Smbolodenotaalpie&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftn1&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;b&gt;[1]&lt;/b&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;   style=&quot;font-family:Arial;font-size:15px;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;i&gt;&lt;span lang=&quot;FR&quot;   style=&quot;font-size:11.0pt; mso-bidi-font-family:Arial;mso-bidi- mso-ansi-language:FRfont-family:Helvetica;font-size:9.5pt;&quot;&gt;&lt;b&gt;Le Joker (“Curinga”), c&#39;est la carte multifonctionnelle du jeu.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;i&gt;&lt;span lang=&quot;FR&quot;   style=&quot;font-size:11.0pt; mso-bidi-font-family:Arial;mso-bidi- mso-ansi-language:FRfont-family:Helvetica;font-size:9.5pt;&quot;&gt;&lt;b&gt;Dans chaque partie, elle a une fonction spécifique. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Augusto Boal a baptisé les &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;facilitateurs/-trices&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; du Théâtre de l&#39;Opprimé (TO) “Curinga” (Joker): des artistes ayant une fonction pédagogique; des pratiquants studieux et&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;chercheurs de sa méthode.&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;On pourrait définir le/la Joker comme étant un/-e spécialiste en constant processus d&#39;apprentissage. Une personne qui doit connaître l&#39;ensemble des techniques composant l&#39;Arbre du Théâtre de l&#39;Opprimé qui représente la structure pédagogique de la Méthode, elle-même composée de ramifications cohérentes et interdépendantes qui sont le fruit de découvertes faites pour répondre aux besoins et demandes effectives de la réalité.&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;&lt;/span&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Exercer la fonction de Curinga (Joker) exige la connaissance rigoureuse des fondements pratiques et théoriques, éthiques, politiques, pédagogiques, esthétiques et philosophiques de la Méthode et, en même-temps, cela exige d&#39;être sensible aux demandes de la réalité et d&#39;avoir la capacité de réinventer ce qui est connu, afin de satisfaire les besoins concrets de chaque groupe.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Un ou une Curinga (Joker) doit être capable de monter sur scène et de jouer; de donner des ateliers et formations théoriques et pratiques; d&#39;organiser et coordonner des groupes populaires; d&#39;orienter la production de spectacles de Théâtre-Forum (depuis la création de l&#39;image jusqu&#39;à la création collective du texte); de guider des dialogues théâtraux lors de sessions de Forum ou de Théâtre Législatif; de stimuler la réalisation d&#39;actions sociales concrètes et continues et, bien sûr, de systématiser son expérience pour qu&#39;elle serve à d&#39;autres pratiquants/-es et contribue au développement de la Méthode. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Le Théâtre de l&#39;Opprimé est une méthode ludique et pédagogique, un instrument efficace de communication et de recherche d&#39;alternatives concrètes à des problèmes réels, à travers de moyens esthétiques. Il crée les conditions pour que l&#39;opprimé/-ée s&#39;approprie les moyens de production théâtrale et amplifie ainsi ses possibilités d&#39;expression. En éliminant les barrières entre la scène et le public, il établit un dialogue actif, démocratique et &lt;/b&gt;&lt;/span&gt;&lt;span style=&quot;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;suggestif&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;.&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Le/la Curinga (Joker) est celui/celle qui facilite ce Dialogue, en établissant une communication horizontale, qui est à la fois investigation et &lt;/b&gt;&lt;/span&gt;&lt;span style=&quot;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;proposition&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;color:#00AE00;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;. &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Faciliter ici ne veut pas dire offrir des réponses ou présenter des chemins à suivre, sans aider dans l&#39;analyse des alternatives par des questions et des comparaisons instigatrices qui encouragent l&#39;expression et laissent place à la diversité d&#39;opinions. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Dans le Théâtre de l&#39;Opprimé, la fonction du/de la Curinga (Joker) est diverse et complexe: elle va de l&#39;identification à la représentation esthétique du conflit, jusqu&#39;à la discussion et la viabilité des stratégies qui rendent possible la transformation de la réalité mise en scène. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Celui ou celle qui occupe le rôle de Curinga (Joker) doit aider les personnes à découvrir leurs potentialités, à mieux se connaître, à exprimer leurs idées et émotions, à analyser leurs problèmes et à rechercher leurs propres alternatives à ces derniers. Le/la Joker ne détient pas les réponses mais formule les questions qui génèrent des réponses et provoquent de nouvelles questions. Il ne s&#39;agit pas de poursuivre la réponse parfaite; il s&#39;agit plutôt de stimuler les réponses possibles qui permettent de parvenir à la réalité souhaitée, afin de la rendre palpable. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Pour occuper la fonction de Curinga (Joker), il est nécessaire de rechercher constamment la &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;spécialisation diversifiée&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, à travers la formation et la posture multidisciplinaire, car l&#39;Arbre du Théâtre de l&#39;Opprimé s&#39;alimente des connaissances humaines afin de promouvoir des actions concrètes. Chercher à savoir de théâtre, de culture, d&#39;éducation, de psychologie, de politique, d&#39;écologie, d&#39;économie et de tous les domaines possibles, en associant savoir, sensibilité et bon sens, est une attitude essentielle.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Le Théâtre de l&#39;Opprimé est largement pratiqué dans le monde entier, dans des langues, cultures et géographies diverses. Il est au service de l&#39;universalisation du savoir et du bien commun, tout en se basant sur le respect des spécificités des identités locales. Il s&#39;oppose radicalement à l&#39;uniformisation qui massifie.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Même si l&#39;on espère que les pratiquants/-es de TO suivent les mêmes fondements théoriques et pratiques (éthiques, pédagogiques, esthétiques, philosophiques et politiques) que ceux qui ont été systématisés par Augusto Boal, le TO d&#39;Inde doit être indien, celui du Mozambique, mozambicain, celui de Palestine, palestinien, celui du Canada, canadien et, celui du Brésil,&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;   &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;brésilien. Soit, dans chaque endroit, il doit s&#39;identifier aux particularités du&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;lieu.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;L&#39;attention rigoureuse aux fondements de la Méthode garanti une identité globale qui permet que le pratiquant d&#39;Inde se reconnaisse dans un Forum&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;   &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;réalisé au Mozambique. C&#39;est le principe selon lequel la technique doit être au service des personnes, en tenant compte de leurs besoins concrets et des spécificités locales. La technique exige et promeut la diversité. Le Théâtre de l&#39;Opprimé doit être le même partout, tout en étant spécifique à chaque endroit. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Les Groupes de Théâtre de l&#39;Opprimé – GTO&#39;s – travaillent sur des thèmes variés, depuis la violence domestique, la violence urbaine et la violence sexuelle, jusqu&#39;à la réforme agraire; en passant par la prévention du SIDA, la discrimination raciale, sociale et de genre, la diversité sexuelle, les droits travaillistes, entre autres. Des thèmes présents dans beaucoup de vies et beaucoup d&#39;endroits.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;En tenant compte de tout cela, comment former quelqu&#39;un pour assumer cette fonction de Curinga (Joker)? Comment garantir une préparation qui rende compte d&#39;une telle complexité?&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Une formation qui, nécessairement, doit être ininterrompue et à long terme, qui ne soit pas restreinte à l&#39;étude théorique mais qui dépende de l&#39;expérimentation pratique. Une formation élaborée dans la maturité humaine. Le Théâtre de l&#39;Opprimé ne peut être intégré que par ceux/celles qui partagent généreusement leur savoir et leur expérience. C&#39;est une Méthode qui ne s&#39;apprend qu&#39;en enseignant et qui ne peut être enseignée que lorsqu&#39;on est ouvert à apprendre. Ce processus de formation ne peut&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;se donner qu&#39;au fil du temps.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Selon la célèbre phrase d&#39;Antonio Machado&lt;/b&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftn2&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[2]&lt;/b&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, le/la Curinga (Joker) est le/la marcheur/-euse qui fait le chemin en marchant. Cette marche commence nécessairement par la multiplication. Le chemin est infini. Les arrivées, diverses, sont les dépassements des réalités oppressives.&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Times;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Même en ayant une base solide, fondée sur l&#39;Éthique et la Solidarité, le TO n&#39;est pas une Méthode statique ou terminée: elle s&#39;amplifie à chaque découverte et s&#39;approfondit à chaque systématisation. Cette dynamique est le principal défi pour la formation de ceux/celles qui veulent exercer la fonction de Joker. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Une Méthode en mouvement et en développement constants, par principe, ne peut pas engendrer des spécialistes formés. Ses pratiquants doivent être des personnes en mouvement, en état d&#39;apprentissage, conscientes que le savoir est un processus de vie et non une accumulation bureaucratique. Tout au long de sa vie, Augusto Boal a été en mouvement, appréhendant chaque découverte comme une référence pour recommencer. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Dans le Théâtre de l&#39;Opprimé, la pratique alimente la production théorique qui doit être à la fois son fondement et son point de départ. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Augusto Boal a commencé à systématiser la Méthode de TO dans les années 70,&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;au Brésil (Théâtre Journal) et a continué à découvrir d&#39;autres techniques pendant sa période d&#39;exil en Argentine (Théâtre Invisible), au Chili (Théâtre Image), au Pérou (Théâtre Forum), en France (Arc-en-ciel du désir) et dans tous les autres endroits par lesquels il est passé, jusqu&#39;à son retour au Brésil en 1986. A Rio de Janeiro, où il a fondé le Centre de Théâtre de l&#39;Opprimé (&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.cto.org.br/&quot;&gt;&lt;span style=&quot;text-decoration:none;text-underline: nonefont-family:Arial;color:windowtext;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;www.cto.org.br&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;) avec l&#39;équipe de Jokers, il ne s&#39;est pas arrêté (Théâtre Législatif) et a continué jusqu&#39;à la fin de sa vie, notamment à travers sa recherche sur l&#39;Esthétique de l&#39;Opprimé et la constante ampliation de l&#39;arsenal d&#39;exercices et de jeux. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Au cours des 23 années durant lesquelles il a été directeur artistique du Centre de Théâtre de l&#39;opprimé (CTO&lt;/b&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftn3&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[3]&lt;/b&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;), Boal a personnellement pris soin de la formation et de la mise à jour des Curingas (Jokers) de son équipe, grâce à des Séminaires Théoriques, des Laboratoires Pratiques, et à travers le Centre d&#39;Etudes Générales, organisant des activités afin d&#39;analyser et de produire des textes théoriques; à travers l&#39;évaluation du développement des projets; la révision, expérimentation et systématisation des exercices, des jeux et des techniques de l&#39;Arbre du Théâtre de l&#39;Opprimé et de sa dramaturgie; et à travers l&#39;étude de thèmes politiques et sociaux. Des Jokers formés/-ées à la fois par l&#39;application pratique au sein de projets socio-culturels et par la réflexion analytique au sein de laboratoires et séminaires. Une qualification développée au cours d&#39;un processus continu d&#39;expérimentation et de production théorique. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Au Centre de Théâtre de l&#39;Opprimé, les Curingas (Jokers) ont construit un chemin de formation à partir des groupes de TO au sein desquels ils ont initié leurs processus de multiplication.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Claudete Felix, professeur de portugais et de littérature, jouait dans le groupe d&#39;animateurs/-trices culturels/-elles supervisé par Boal. Helen Sarapeck, biologiste, et Olivar Bendelak, ingénieur chimiste, faisaient partie du groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Arajuba na Moita, &lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Geo Britto, sociologue, collaborait avec le groupe du syndicat des travailleurs du secteur bancaire, Flávio Sanctum, pédagogue, était membre des groupes &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;GHOTA&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; et &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Artemanha&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;. Claudia Simone, psychopédagogue, a commencé en organisant le groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Pirei na Cenna&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;. Et moi, Barbara Santos, sociologue, j&#39;ai commencé au sein du groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Virando a Mesa&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, formé par des professeurs.&lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Parmi les Jokers associés/-ées au CTO nous trouvons: Claudio Rocha, art-éducateur, qui a commencé au sein du groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Pressão no Juízo, &lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;à Recife; Yara Toscano, psychologue, et Kelly di Bertoli, actrice professionnelle, qui ont commencé au sein de projets du CTO à Sao Paulo. Plus récemment, ont intégré l&#39;équipe Monique Rodrigues, du groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Panela de Opresão&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, et Alexandro Conceição, du groupe &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Pirei na Cenna&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;La multiplication peut commencer de façon ponctuelle, au sein même du groupe et s&#39;étendre petit à petit à travers d&#39;ateliers et de cours, à travers l&#39;organisation et la coordination de groupes communautaires, la production de spectacles, la médiation de dialogues théâtraux, la stimulation d&#39;actions sociales concrètes et continuées, et la systématisation des expériences pratiques.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Dans l&#39;actuelle structure du CTO, il existe des Pratiquants/-es de la Méthode agissant comme des Jokers, comme des Assistants/-es Jokers ou comme Jokers-Communautaires. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Assistant/-e-Joker, c&#39;est un/-e pratiquant/-e qui assume des responsabilités spécifiques au sein des activités pratiques, malgré qu&#39;il/elle n&#39;ait pas encore l&#39;autonomie pour conduire le processus de travail comme un tout. Cette expérience fonctionne comme un stage supervisé, cela étant une stratégie de formation. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Le/la Joker-Communautaire est un membre du groupe de TO qui assume le rôle de coordinateur/-trice interne, qui domine le thème spécifique du spectacle et qui est capable de mener les jeux et exercices, d&#39;orienter les répétitions et de dynamiser les dialogues théâtraux. Il/elle exerce la fonction de Joker au sein particulier de son groupe. Ce travail communautaire, au départ restreint à la spécificité du groupe, peut motiver l&#39;ampliation de cette action à d&#39;autres secteurs thématiques. C&#39;est une stratégie de formation qui garantit l&#39;autonomie des groupe communautaires.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Faire du &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Jokering (Curingar)&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; veut dire mener le dialogue entre la scène et le publique lors des sessions de théâtre-Forum, ainsi que le débat lors des sessions de Théâtre Législatif. C&#39;est aussi promouvoir le dialogue dans n&#39;importe quelle activité de Théâtre de l&#39;Oppprimé. Faire du Jokering (Curingar) signifie stimuler le spectateur/-trice à changer sa condition de consommateur/-trice d&#39;un produit culturel pour prendre la place de producteur/-trice de culture et de connaissance, la place de citoyen/-enne: agent de transformation de la réalité. L&#39;acte de &lt;/b&gt;&lt;/span&gt;&lt;i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Jokerer (Curingar)&lt;/b&gt;&lt;/span&gt;&lt;/i&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, en soi, ne fait pas d&#39;un pratiquant de TO un Joker (Curinga), mais c&#39;est un exercice essentiel pour sa formation.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;L&#39;intense diffusion du Théâtre de l&#39;Opprimé au Brésil a créé le besoin de développer des programmes de formation de ses pratiquants/-es, afin de garantir l&#39;accès aux bases de la Méthode et son application adéquate. Ces programmes ont été structurés d&#39;un point de vue pédagogiques au cours de ces 12 dernières années par l&#39;équipe du CTO, non pas pour former des Jokers mais pour offrir une base solide à tous/-tes ceux/celles qui voudraient commencer comme pratiquants/-es de la Méthode.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Pour exercer la fonction de Curinga (Joker), les activités de multiplication son essentielles, c&#39;est pour cela que le développement de ces compétences a été le centre des programmes de qualification du CTO. Ces activités ont&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;bénéficié à des activistes de groupes culturels, à des mouvements sociaux, et aux institutions socio-culturelles qui utilisent le TO dans leur action communautaire, afin de la dynamiser, la diversifier et l&#39;amplifier.&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;   &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Times;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Les actuels programmes continués de formation de pratiquants/-es de la Méthode coordonnés par le CTO se font remarquer non seulement par leur dimension territoriale – Brésil, Mozambique, Guinée-Bissau jusqu&#39;en Angola&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;avec répercussions au Sénégal – mais encore et particulièrement par leur caractère innovateur et par la constance de leur structure pédagogique. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Parmi les environ 700 Pratiquants/-es de Théâtre de l&#39;Opprimé qui ont été ou sont en processus de qualification auprès du CTO entre 2006 et 2010&lt;/b&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftn4&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[4]&lt;/b&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;, beaucoup deviendront certainement pratiquants/-es d&#39;une nouvelle génération de Curingas (Jokers), influencée par des cultures, des identités, des expériences, des savoirs et des personnalités diverses. Une génération qui poursuivra le rêve de Boal; à savoir que tout le monde puisse exercer le droit humain fondamental de faire du théâtre et de s&#39;exprimer à travers de moyens esthétiques.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;L&#39;expérience accumulée tout au long de ce processus historique pointe du&lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;doigt la nécessité d&#39;avancer dans la systématisation des programmes pour la qualification de Jokers. Des programmes qui tirent profit des conquêtes réalisées, qui cherchent à aller au-delà des insuffisances identifiées et qui avancent concernant les stratégies d&#39;accompagnement des projets développés par les personnes qui se forment, et concernant les stratégies de stimulation des actions en réseau, de la production théorique et de la communication internationale. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Le Théâtre de l&#39;Opprimé n&#39;a pas encore quatre décennies d&#39;existence et, même ainsi, il est présent sur les cinq continents, il est utilisé par des centaines de pratiquants/-es et bénéficient à des milliards de personnes. Les pratiques sont diverses, en dimensions, en secteurs d&#39;intervention, en styles, en objectifs et en résultats. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;L&#39;impressionnante diffusion de la Méthode donne lieu au besoin de fortifier les fondements et les principes de base de l&#39;Arbre du Théâtre de l&#39;opprimé ainsi que la systématisation de se structure pédagogique afin de garantir son authenticité partout où il est appliqué.&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Curinga (Joker) ou en processus de formation, les Pratiquants/-es du TO doivent être engagés/-ées dans une essence humaniste, pédagogique et démocratique de la Méthode. L&#39;éthique et la solidarité comme bases et comme guides. La multiplication et l&#39;organisation comme stratégies et la promotion d&#39;actions sociales continuées et concrètes pour transformer des réalités oppressives comme but. &lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Helvetica;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;i&gt;&lt;span lang=&quot;EN-US&quot;  style=&quot;font-family:Arial; mso-fareast-font-family:&amp;quot;Times New Roman&amp;quot;;mso-bidi- mso-ansi-language:EN-US;mso-fareast-language:EN-USfont-family:Arial;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt; &lt;/b&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;i&gt;&lt;span lang=&quot;EN-US&quot;  style=&quot;font-family:Arial; mso-fareast-font-family:&amp;quot;Times New Roman&amp;quot;;mso-bidi- mso-ansi-language:EN-US;mso-fareast-language:EN-USfont-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Traduction: Stéphanie Mouton&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;div style=&quot;mso-element:footnote-list&quot;&gt;   &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot;&gt;    &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftnref&quot; name=&quot;_ftn1&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Smbolodenotaalpie&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[1]&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;FR&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Bárbara Santos est sociologue, actrice et Joker de Théâtre de l&#39;Opprimé. Elle a été Coordinatrice Générale du Centre de Théâtre de l&#39;Opprimé de 1994 à 2008. Elle a travaillé dans la formation de groupes communautaires, dans la conception et le développement de projets et particulièrement dans la formation de pratiquants/-es de la Méthode. Elle a travaillé avec Augusto boal jusqu&#39;en 2009. &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;FR&quot;   style=&quot;font-family:Times;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;barbarasantos.kuringa@gmail.com &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;a href=&quot;http://kuringa-barbarasantos.blogspot.com/&quot;&gt;&lt;span style=&quot;text-decoration:none;text-underline:nonecolor:windowtext;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;http://kuringa-barbarasantos.blogspot.com/&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;span lang=&quot;FR&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;  &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span style=&quot;text-decoration:none;text-underline:nonecolor:windowtext;&quot;&gt;&lt;a href=&quot;http://www.facebook.com/profile.php?id=591418309&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;http://www.facebook.com/profile.php?id=591418309&lt;/b&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftnref&quot; name=&quot;_ftn2&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Smbolodenotaalpie&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[2]&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Poète espagnol&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; text-autospace:ideograph-numeric&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftnref&quot; name=&quot;_ftn3&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Smbolodenotaalpie&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[3]&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;mso-bidi- mso-ansi-language:EN-USfont-family:Times;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Av. Mem de Sá, 31 – Lapa – RJ / RJ - Brasil CEP: 20.230-150 &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot; font-family:Arial;mso-bidi-mso-ansi-language:EN-USfont-family:Times;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;www.cto.com.br &lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:EN-USfont-family:Times;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;55 21 2232-5826&lt;o:p&gt;&lt;/o:p&gt;&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div style=&quot;mso-element:footnote&quot; id=&quot;ftn&quot;&gt;  &lt;p style=&quot;text-align:justify&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=4425531792317062420#_ftnref&quot; name=&quot;_ftn4&quot; title=&quot;&quot;&gt;&lt;span class=&quot;Smbolodenotaalpie&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;[4]&lt;/b&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:medium;&quot;&gt;&lt;b&gt;Les projets développés durant cette période ont reçu l&#39;appui du gouvernement fédéral, à travers le Ministère de l&#39;Éducation, le Ministère de la Santé et le Ministère de la Culture, ce dernier étant le partenaire financier actuel de l&#39;institution. &lt;/b&gt;&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;/div&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/4425531792317062420/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2011/07/lart-du-jokering-kuringar.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/4425531792317062420'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/4425531792317062420'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2011/07/lart-du-jokering-kuringar.html' title='L&#39;art du Jokering / Kuringar (Français)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-1048986443224074829</id><published>2010-11-24T03:19:00.000-08:00</published><updated>2011-07-28T05:46:56.425-07:00</updated><title type='text'>Teatro do Oprimido: é possível quando cercado de verdades?</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;A convite de meu amigo Antonio Masegosa, estou mais uma vez em Barcelona. Adoro a cidade, a comida, os vinhos, a visão do mar... Um prazer!&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;A proposta: um final de semana dedicado à Estética do Oprimido, curso aberto, e um segundo momento exclusivo para a qualificação da equipe de Multiplicadores de Pallapupas – originalmente, palhaços de hospital – organização onde Masegosa atua na direção artística. Existe uma equipe de facilitadores que utiliza Teatro do Oprimido em unidades de saúde mental: com crianças, adolescentes, adultos, familiares. A formação para os e as facilitadoras está sendo preparada através de visitas de acompanhamento. Vou ao local onde trabalham para ter uma idéia do que e como fazem.&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Assim se pode entender melhor as questões, aflições e alternativas de quem faz o trabalho de campo. Tentar ver através de seus olhos, escutar por seus ouvidos, perceber o sentido das palavras que dizem e do planejamento que fazem. Se interar de seu contexto de atuação.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Primeira visita: moderno hospital pediátrico, setor psiquiátrico. Instalações de alto nível, equipe qualificada... tecnicamente, Perfeito!&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Um café com a dupla que faz o trabalho para uma breve contextualização do trabalho: grupo formado por crianças de até 12 anos, em tratamento psiquiátrico, internadas por períodos que podem variar de uma semana até oito meses, para diagnóstico psiquiátrico, pesquisa de medicação adequada a cada caso, tratamento intensivo para os casos graves. Além da medicação psiquiátrica, atividades lúdicas na área de psicologia. Pallapupas atua no hospital duas vezes por semana: uma com crianças, outra com adolescentes.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Dificuldades: alto índice de rotatividade, muitas vezes não se tem o mesmo grupo em dois encontros seguidos. Alternativa: trabalhar cada encontro como um programa completo em si: começo, meio e fim.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Saímos do café... pegamos um elevador para descer. Saímos do prédio onde estávamos. Atravessamos um corredor. Entramos em outro prédio. Nos anunciamos num interfone. Uma enfermeira aparece para nos resgatar. Subimos outro elevador. Entramos num corredor de muitas salas. Como um jogo de labirinto... chegamos à sala onde acontecerá a transmissão.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Transmissão é o termo que usam para a conversa entre enfermeira e dupla de facilitadores. Ela descreve o grupo que eles encontrarão, dando detalhes sobre o tratamento e sobre o comportamento emocional até aquele momento.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Começa falando de &lt;/span&gt;&lt;u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;M&lt;/span&gt;&lt;/u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;, 12 anos. Ela tem um DCT associado a um TDF, por isso passa por um tratamento tipo TMC. A conversa é em código. Parece que a menina descrita tem um distúrbio de não sei o quê associado a um trauma comportamental de outra coisa que não consigo perceber, e por isso participa de uma terapia multi-alguma coisa. Depois falam de &lt;/span&gt;&lt;u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;O&lt;/span&gt;&lt;/u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;, 8 anos. Com depressão profunda associada a um TRS que é agravado por um autismo leve. Em seguida, descreve &lt;/span&gt;&lt;u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;P&lt;/span&gt;&lt;/u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;, 8 anos, depressão leve, hiperatividade associada a mais duas siglas. Segue falando... uma está revoltada, outro não fala há dois dias, e... Siglas, tratamentos, comportamentos.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;A enfermeira é simpática, atenciosa, delicada... Entretanto, quando descreve as crianças, parece perder a dimensão de humanidade. Eu não conseguia enxergar nenhuma criança por detrás da conversa. Até que perguntei sobre pais e mães, se fazem tratamento também. Ao que ela responde: Deveriam, mas não fazem. O hospital é para crianças.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Saio da sala de transmissão sufocada. Quero gritar, chorar... parece uma calamidade. Se crianças de 8 anos podem ser diagnosticadas como depressivas profundas, temos que nos perguntar urgentemente em que tipo de sociedade adoecida estamos vivendo. Tanto distúrbio de comportamento, tanto trauma... quem precisa mesmo de tratamento? Até onde se pode ir com tratamento de crianças sem envolvimento de seus pais?&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Chegamos à sala de oficina. Uma espécie de aquário com largas janelas de vidro. Tento esquecer todas as siglas para enxergar as crianças. Entramos. Sou apresentada e as crianças, como quaisquer outras, ficam curiosas sobre minha origem. A facilitadora pergunta: De onde acham que ela é? China, Índia, África, Estados Unidos, Madrid... O menino diagnosticado com autismo mais profundo me olha nos olhos, dentro dos olhos, e da seus palpites em voz baixa. Depois todo mundo quer saber qual a origem dos demais participantes. Ficamos por quase 15 minutos concentrados no tema da origem de cada um e cada uma.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Iniciamos o programa de exercícios e jogos. Um pouco de desconcentração aqui e acolá... Começamos. O primeiro jogo incluiu um pouco de frustração que parece bem manejada pelos facilitadores. O jogo seguinte propõe que um seja escultor e outro massa de modelar. Um modela o outro, fazendo uma escultura. Depois, de olhos fechados, entre muitas esculturas, tem que encontrar a sua. As crianças ficam fascinadas. Uma menina diz, quero ser o barro! Não quer ser escultora? Não, quero ser apenas barro. Alguns querem seguir jogando mais um pouco, mas é preciso seguir para o jogo seguinte.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Outro jogo, onde formamos pequenos grupos e criamos imagens que devem ser analisadas pelos demais. O que vêem aqui? Cada um descreve o que acha. Numa imagem falam de família: pai, mãe e filho. O menino que está na imagem vive numa espécie de orfanato. Parece absolutamente feliz de estar na tal imagem como filho. No final, as imagens ganham vida e podem entrar em ação.  O jogo também se encerra. Chega o momento de se despedir de um menino que encerrou seu tratamento e vai embora. Acaba a sessão.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Me dou conta do poder das siglas e das verdades médicas. Mesmo quando as crianças solicitavam seguir com a mesma atividade, os facilitadores, de alguma forma, se sentiam obrigados a mudar de atividade. Posso entender, pois uma das idéias pré-fixadas sobre crianças hiperativas é que não podem se concentrar e por isso é necessário mudar de atividade todo o tempo.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Quando a menina &lt;/span&gt;&lt;u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;M&lt;/span&gt;&lt;/u&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;, diagnosticada com distúrbio de comportamento, com uma agressividade-perigosa (essa menina iniciou pequenos incêndios na comunidade onde reside), disse que queria ser o barro e não o escultor, ou seja, queria ser modelada e não modelar, faltou espaço de investigação. Ela oferecia uma oportunidade excepcional de diálogo, de percepção sobre o que poderia significar para ela a sensação de ser barro, de estar apenas como massa de modelar. Oportunidade não aproveitada.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;O mesmo me pareceu ocorrer no momento de análise das imagens. Havia uma imagem de família: pai, mãe, filho. Um menino feliz na imagem. Se poderia ter investigado quais os possíveis movimentos da família: de onde estariam vindo, para onde iriam, o que gostariam de fazer, e etc.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Entretanto, naquela sala, com crianças como quaisquer outras em qualquer outro lugar, estávamos rodeados de siglas aprisionadoras, de verdades engessadoras que não permitiam o fluir da liberdade do espaço teatral.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Mesmo se tratando de um espaço transitório, a oficina de teatro deve ter como marca essencial a liberdade criativa, de tempo e de espaço: ali se pode ser o que quiser e estar onde se possa imaginar. Não há limites para o vôo imaginário, para os saltos criativos ou para o tempo da ficção. A liberdade do teatro não pode ser enquadrada na estrutura de diagnósticos precisos.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Longe de mim duvidar de competências médicas, como especialistas em suas áreas devem saber o que estão fazendo. Torço que sim! Entretanto, quando nos propomos a abrir espaços de liberdade, devemos assegurar os requisitos mínimos para sua implantação, entre os quais, o espaço para a dúvida. Não me refiro à duvida sobre competências alheias, mas a dúvida sobre verdades herméticas. Criar espaço para a possibilidade do improvável, para a existência do inusitado, para a descoberta de potencialidades ainda não conhecidas. Espaço onde possamos nos surpreender.  &lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;O menino autista que dificilmente faz contato com outras pessoas, na sessão de teatro pode se concentrar profundamente numa cena criada, que aconteça num espaço fictício. A menina cheia de iniciativas consideradas socialmente “negativas” pode se dar ao direito de ser apenas barro, de ser modelada. O menino hiperativo, que não se concentra em nada, que precisa de muitas atividades diferentes, pode querer seguir num mesmo jogo, por conta de alguma coisa surpreendente que descobriu e que nós não nos demos conta.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;A oficina de teatro não está limitada pelas paredes da sala. Por isso, também não pode estar aprisionada por diagnósticos incontestáveis. É preciso espaço para mover-se por improbabilidades. Ser humano é ser teatro. No exercício de criação de uma imagem do real, podemos expressar o que não conseguimos em nossa realidade, podemos inclusive entrar em contato com o real do qual tanto somos excluídos. Muito para pensar...&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt; &lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Bárbara Santos&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right&quot;&gt;&lt;span style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Barcelona, 23 / 11 / 10&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/1048986443224074829/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/11/teatro-do-oprimido-e-possivel-quando.html#comment-form' title='7 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1048986443224074829'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1048986443224074829'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/11/teatro-do-oprimido-e-possivel-quando.html' title='Teatro do Oprimido: é possível quando cercado de verdades?'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>7</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-754322626040744688</id><published>2010-09-20T14:40:00.000-07:00</published><updated>2010-09-20T14:48:43.260-07:00</updated><title type='text'>Ma main Africaine (Français)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;Nous sommes à São Domingos, au nord de la Guinée-Bissau, presque à la frontière avec le Sénégal. Région truffée de militaires à cause d&#39;une dispute pour une bande de terre de sept kilomètres entre les deux pays. La présence militaire n&#39;est pas une chose exceptionnelle, en proximité de Casamance et d&#39;autres zones « sensibles », elle a même été justifiée.&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Nous faisons à nouveau une formation avec le Groupe de Théâtre de l&#39;Opprimé GTO-Bissau, centrée sur la question de genre, dans le cadre du  &lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;Théâtre des Opprimées - Laboratoire Madeleine&lt;/i&gt;, et sur les défis de la stabilité du processus de paix d&#39;un pays marqué par l&#39;instabilité. Notre outil est le Théâtre de l’Opprimé, avec son esthétique provocatrice et engagée.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Nous occupons un grand hangar avec toit de zinc, vestige d’un centre culturel construit et abandonné par une ONG internationale. Le hangar est équipé de ventilateurs, projecteurs, instruments de musique, rétroprojecteurs et autres appareils électroniques poussiéreux et sans utilité, du fait de l&#39;inexistence d&#39;énergie électrique. À l&#39;intérieur, l&#39;excès de poussière nous dessèche la gorge. À partir de 12h, la chaleur s&#39;intensifie, et nous nous sentons rôtir comme dans un four. Malgré les adversités, le travail est intense, créatif et productif. Quelques énergies ancestrales nous guident et nous animent.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;À l&#39;entrée du hangar, des dizaines d&#39;enfants nous observent quotidiennement. Ils sont devant les portes dés notre arrivée jusqu&#39;à l&#39;heure de notre départ. Ils s&#39;amusent à voir des adultes qui jouent comme des enfants. Quand nous y parvenons, nous les intégrons dans les activités de d&#39;Esthétique. Quand nous n&#39;y parvenons pas, eux-mêmes s’intègrent.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;À la moitié de la journée de travail, nous mangeons une « mata-bicho » (casse-croûte copieux), sous la surveillance d’yeux mi-affamés et mi-curieux. Nous organisons donc un casse-croûte plus consistant pour qu&#39;ils puissent nous accompagner et continuer à participer à ce cérémonial quotidien.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Un jour, nous sentons quelque chose de différent dans leurs agissements. Néanmoins, nous nous concentrons sur la production de nos représentations publiques. Soudain, le travail s&#39;interrompt quand un des Multiplicateurs entre dans la salle tenant par la main une petite fille effrayée. Il ouvre la paume de la main de la fillette et présente le résultat de ce qui serait un processus éducatif : une brûlure circulaire. Qu&#39;est que c&#39;est ? Une brûlure ! La petite fille est rentrée avec une pièce de monnaie à la maison et sa grand-mère l&#39;a brûlée avec la pièce chauffée à blanc, pour lui apprendre qu&#39;il ne faut pas prendre ce qui ne lui appartient pas.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Nous sommes choqués, la brûlure s&#39;est transformée en une croûte infectée. Difficile d&#39;examiner la blessure sans sentir son estomac s&#39;emballer. C‘est horrible à voir. Pour l&#39;enfant, nos réactions semblent aussi pénibles que sa blessure.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Une partie du groupe part à la recherche de la famille de la fillette; une jeune femme se présente comme sa tante et nous raconte que la cause de la brûlure est l’apparition d’une pièce monnaie d&#39;origine inconnue, ce qui a contrarié la grand-mère. Pour bien faire comprendre cela à sa petite-fille, la grand-mère chauffa la pièce et la plaqua dans la paume de la main pour qu&#39;elle apprenne définitivement la leçon.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Une autre partie du groupe se charge de l&#39;accompagner au dispensaire, la croûte de peau est enlevée sans anesthésie, et l&#39;infirmier confirme la gravité de la situation, qui aurait pu aller jusqu&#39;à la perte de la main, si la prise en charge avait trop tardé.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Le même jour, la grand-mère vient à notre rencontre et déclare que la fille s&#39;était brûlée seule, en jouant avec du feu. Toute la conversation était en créole, négociée par les Multiplicateurs de TO de la région, spécialement par ceux qui comprennent les bases éthnico-culturelles de cette veille dame. Ils ont fait cela avec beaucoup de prudence, car dans la culture guinéenne les personnes âgées doivent être respectées coûte que coûte parce qu&#39;elles détiennent l&#39;expérience et la sagesse.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Lorsque quelqu&#39;un semblait prêt à perdre patience avec l&#39;ancêtre, il ou elle était substitué(e) pour que la conversation se déroule dans un respect absolu. Il était clair, pourtant, que la grand-mère ne voulait pas révéler ce qui c&#39;était vraiment passé. C&#39;est là que le groupe a commencé à penser à des stratégies pour protéger la petite-fille, car la situation pouvait s&#39;aggraver, comme la grand-mère se sentait humiliée, elle pourrait vouloir se venger de l&#39;enfant.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Quelqu&#39;un qui connaissait quelqu&#39;un qui connaissait quelqu&#39;un de la radio locale, demanda à ce que le cas soit diffusé. Le nom de l&#39;ancêtre n&#39;a pas été révélé, mais on commença à annoncer qu&#39;un fait grave s&#39;était produit dans la communauté - une petite fille a eu la main brulée - et que cette pratique ne devait plus être une manière d&#39;éduquer un enfant. En plus, ils demandèrent à la communauté de veiller à ce que l&#39;enfant ne souffre plus. La stratégie fut de rendre publiques les faits de manière à ce que tous en eurent connaissance et que la grand-mère se sente gênée, sans courage d&#39;agresser la petite-fille.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Le jour suivant, la fillette avait la main bandée et sans aucune autre marque d&#39;agression. Toute la communauté savait ce qui était arrivé. Nous étions satisfaits, mais pas tranquilles, car nous ne savions pas ce qui arriverait quand nous serions partis. Les participantes de la formation qui vivaient dans la région prirent la responsabilité de visiter la famille et de garantir l&#39;accompagnement au dispensaire.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Ce tragique et à la fois bel exemple montre comment les choses ont changé en Guinée-Bissau depuis la première fois où je suis allée là-bas, en 2004, pour établir un programme de qualification de Multiplicateurs du Théâtre de l&#39;Opprimé. À l&#39;époque, la majorité des participant(e)s, d&#39;une manière ou d&#39;une d&#39;autre, se voyait et se sentait victime de la guerre civile. Victime en attente d&#39;aide.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Aujourd’hui, en 2010, une grande partie du groupe est composée par les mêmes participant(e)s qu&#39;en 2004. Mais, ces mêmes participant(e)s sont devenu(e)s autres. Ils et elles sont devenu(e)s des activistes engagé(e)s dans la transformation de la réalité. Ils et elles n&#39;attendent plus d&#39;être aidé(e)s, mais cherchent des alternatives pour s&#39;aider les un(e)s les autres. Ils et elles n&#39;acceptent plus que des injustices se reproduisent au nom des traditions. Ils et elles questionnent ces traditions, tout en respectant les traditionalistes. Ils et elles adoptèrent le Théâtre Opprimé comme philosophie de vie, et en tant que tels ne peuvent se taire, fermer les yeux, boucher leurs oreilles ou attacher leurs mains face à l&#39;injustice. Ils et elles ont compris qu&#39;il n&#39;y a pas de sens à faire du Théâtre de l&#39;Opprimé à l&#39;intérieur d&#39;un hangar quand l&#39;injustice s&#39;installe à la porte. Ils et elles savent que le sens même du Théâtre Opprimé est la transformation de la réalité, est l&#39;élaboration d&#39;actions concrètes et continues.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Le GTO-Bissau est partenaire du Centre de Théâtre du Opprimé dans le projet &lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;Théâtre de l&#39;Opprimé&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;de Ponto à Ponto&lt;/i&gt; (d&#39;un point à l&#39;autre), développé dans le pays depuis 2006. Le groupe se démarque, ces dernières années, comme un exemple de fortification de la société civile guinéenne, en agissant du nord au sud du pays, stimulant des discussions publiques et la prise de position de la société face à des sujets cruciaux, et même tabous. Leurs dernières productions questionnent la structure du pouvoir basé sur la parentalité, le pistonnage et la violente oppression que souffrent les femmes qui ne peuvent pas avoir d&#39;enfant ou qui ne veulent pas être mères trop jeunes.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;La maturité démontrée par ce collectif renforce notre confiance dans son processus d&#39;autonomie, ce qui leur permet de diriger la réalisation de projets locaux.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Cette action concrète élaborée pendant cette dernière formation est l&#39;exemple fort de ce que nous comprenons de la proposition d&#39;Augusto Boal. Nous comprenons que la brûlure dans la main n&#39;est pas un problème privé entre de la fillette et de sa famille, ni un problème exclusif de la communauté de São Domingos, ni une question spécifique de la Guinée-Bissau. Nous comprenons qu&#39;il s&#39;agit de nos propres mains brûlées, des mains de tous les enfants qui ont besoin de protection, des marques laissées dans la chair d&#39;adultes traumatisés par des processus autoritaires d&#39;éducation et de conception pédagogique qui croient que la torture instruit et discipline.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Ma main africaine est restée en Afrique. Dans la mienne, j&#39;ai ramené la mémoire de la force de ces mains engagées pour transformer la réalité et la certitude de pouvoir compter sur ces compagnes et compagnons de Guinée qui ont pris la responsabilité de veiller sur notre main africaine incarné par cette fillette.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: italic; &quot;&gt;Traduction: Bastïen Viltart&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;(Revision: S&lt;/span&gt;&lt;/i&gt;&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;&lt;span style=&quot;font-family: Helvetica;mso-fareast-font-family:&amp;quot;Times New Roman&amp;quot;;mso-bidi- mso-fareast-language:AR-SAfont-family:Helvetica;&quot;&gt;tephanie Mouton et Sebastien Poissant&lt;/span&gt;&lt;/i&gt;&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot; mso-ansi-language:FR;font-family:Arial;&quot;&gt;)&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/754322626040744688/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/09/ma-main-africaine.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/754322626040744688'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/754322626040744688'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/09/ma-main-africaine.html' title='Ma main Africaine (Français)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-5348503928860357535</id><published>2010-08-22T03:47:00.000-07:00</published><updated>2010-08-22T03:56:32.475-07:00</updated><title type='text'>El Arte de Curingar (Español)</title><content type='html'>&lt;div style=&quot;text-align: right;&quot;&gt;Curinga (comodín en español) es la carta multifuncional de la baraja. &lt;/div&gt;&lt;div style=&quot;text-align: right;&quot;&gt;En cada juego tiene una función específica.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Augusto Boal bautizó a los y las facilitadoras de Teatro del Oprimido (TO) como “Curingas”: artistas con función pedagógica; practicantes, estudiosos e investigadores de su Método. Podría definirse al Curinga como un/a especialista en constante proceso de aprendizaje. Alguien que debe conocer el conjunto de técnicas que componen el Árbol del Teatro del Oprimido, que es la representación de la estructura pedagógica del Método, compuesta por ramificaciones coherentes e interdependientes, fruto de descubrimientos hechos a partir de la necesidad de responder efectivamente a las demandas de la realidad.&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Ejercer la función de Curinga exige conocimiento riguroso de los fundamentos prácticos y teóricos: éticos, políticos, pedagógicos, estéticos y filosóficos del TO y, al mismo tiempo, sensibilidad de las demandas de la realidad y capacidad de reinventar lo conocido, para atender a las necesidades concretas de cada grupo.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Un o una Curinga debe ser capaz de entrar en escena y actuar, de dar talleres y cursos teóricos y prácticos; de organizar y coordinar grupos populares; de orientar la producción de espectáculos de Teatro Foro (de la creación de la imagen al texto colectivo); de mediar diálogos teatrales en sesiones de Foro y de Teatro Legislativo, de estimular la efectividad de acciones sociales concretas y continuadas y, claro, de sistematizar su experiencia para que sirva a otros practicantes y contribuya para el desarrollo del Método.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;El Teatro del Oprimido es un Método lúdico y pedagógico, un instrumento eficaz de comunicación y de búsqueda de alternativas concretas para problemas reales, a través de medios estéticos. Crea condiciones para que el oprimido se apropie de los medios de producción teatral y así amplíe sus posibilidades de expresión. Al eliminar las barreras entre espectadores y actores, establece un diálogo activo, democrático y propositivo.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;El Curinga es quien facilita este Diálogo, estableciendo una comunicación horizontal, que sea al mismo tiempo investigativa y propositiva. Facilitar aquí no significa ofrecer respuestas o presentar caminos, y sí ayudar en el análisis de las alternativas, con preguntas y comparaciones instigadoras, que motiven la expresión y garanticen el espacio para la diversidad de opiniones.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;En el Teatro del Oprimido, la función del Curinga es diversa y compleja: de la identificación a la representación estética del conflicto, hasta la discusión y conducción de las estrategias que posibiliten la transformación de la realidad mostrada.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Quien ocupa la función de Curinga debe auxiliar a las personas a descubrir sus potencialidades, a conocerse mejor, a expresar sus ideas y emociones, a analizar sus problemas y a buscar alternativas propias. El Curinga no es quien posee respuestas, es quien formula preguntas que generan respuestas y que provocan nuevas preguntas. No se trata de perseguir la respuesta perfecta, y sí de estimular las respuestas posibles que supongan la realidad deseada, para tornarla palpable.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Para ocupar la función del Curinga es necesario buscar incesantemente la especialización en la diversidad, a través de una formación y una postura multidisciplinar, porque el Árbol del TO se alimenta de los conocimientos humanos para promover acciones concretas. Procurar saber de teatro, cultura, educación, psicología, política, ecología, economía y de todo lo que sea posible. Asociar saber y sensibilidad de forma equilibrada, es una actitud esencial.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;El TO es ampliamente practicado en el mundo entero, en lenguas, culturas y geografías diversas, y está al servicio de la universalización del saber y del bien común, basándose en el respeto a las especificidades de las identidades locales, y  en radical oposición a la uniformidad que masifica.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;A pesar de que se espera que sus practicantes sigan los mismos fundamentos teóricos y prácticos: éticos, pedagógicos, estéticos, filosóficos y políticos, sistematizados por Augusto Boal, el TO de la India debe ser indio, el de Mozambique, mozambicano, el de Palestina, palestino, el de Canadá, canadiense, y el de Brasil, brasileño. En fin, que en cada lugar esté conectado con las especificidades locales.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;La atención rigurosa a los fundamentos del Método, garantiza una identidad global que permite que el practicante de India se reconozca en un Foro hecho en Mozambique. En el principio de que la técnica debe estar al servicio de las personas, considerando sus necesidades concretas y especificaciones locales, exige y promueve la diversidad. El Teatro del Oprimido debe ser el mismo en todos los lugares, siendo, al mismo tiempo, específico en cada uno de ellos.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Los Grupos de Teatro del Oprimido – GTO ́s – trabajan con temas variados, desde violencia doméstica, urbana y sexual hasta reforma agraria; de prevención de SIDA a discriminación racial, social y de género; de diversidad sexual a derechos de los trabajadores, entre otros. Temas de muchas vidas, de muchos lugares.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Entonces ¿cómo capacitar a alguien para asumir la función del Curinga? ¿Cómo garantizar una preparación que dé cuenta de tamaña complejidad?&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Una formación que, necesariamente, debe ser ininterrumpida y de largo plazo, por no restringirse al estudio teórico, depende de la experimentación práctica y se edifica en la madurez humana. El Teatro del Oprimido sólo puede ser apropiado por quien comparte generosamente su saber y su experiencia. Es un Método que sólo se aprende enseñando y que sólo se enseña estando abierto a aprender. Este proceso de formación sólo se puede dar a lo largo del tiempo.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Parafraseando Antonio Machado[1], El Curinga es el/a caminante que hace el camino al andar. Ese andar comienza, necesariamente, con la multiplicación.  El camino es infinito. Las llegadas diversas, el ir superando las realidades opresivas.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Al mismo tiempo se necesita tener una base sólida, fundamentada en la Ética y en la Solidaridad, el TO no es un Método estático o concluido: se amplía con cada descubrimiento y se profundiza con cada sistematización. Esa dinámica es el principal reto de formación de quien quiere ejercer la función de Curinga.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Un Método en constante movimiento y desarrollo, por principio, no puede tener especialistas formados. Sus practicantes deben ser personas en movimiento, en estado de aprendizaje, conscientes de que el conocimiento es un proceso de vida y no una acumulación burocrática. Durante toda la vida, Augusto Boal estuvo en movimiento, encarando cada descubrimiento como referencia para otro comienzo.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;En el Teatro del Oprimido, la actuación práctica alimenta la producción teórica que debe ser, al mismo tiempo, su fundamento y su punto de partida.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Augusto Boal inició la sistematización del Método de TO en la década del 1970, en Brasil (Teatro Periodístico) y siguió descubriendo técnicas en su período de exilio, en Argentina (Teatro Invisible), en Chile (Teatro Imagen), en Perú (Teatro- Foro), en Francia (Arcoíris del Deseo) y por donde quiera que estuvo hasta regresar a Brasil en 1986. En Río de Janeiro, donde fundó el Centro de Teatro del Oprimido, www.cto.org.br, con un equipo de Curingas, no paró (Teatro Legislativo), y siguió hasta el final de su vida con la investigación de Estética del Oprimido y la constante ampliación del arsenal de ejercicios y juegos.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;A lo largo de los 23 años en que fue director artístico del Centro de Teatro del Oprimido - CTO[2], Boal cuidó personalmente de la formación y la actualización de los Curingas de su equipo, a través de Seminarios Teóricos, Laboratorios Prácticos y el Centro de Estudios Generales. Actividades para análisis y producción de textos teóricos; evaluación del desarrollo de los proyectos; revisión, experimentación y sistematización de ejercicios, juegos y técnicas del Árbol de Teatro del Oprimido y de su dramaturgia; y el estudio de temas políticos y sociales. Curingas formados entre la aplicación práctica en proyectos socio-culturales y la reflexión analítica en laboratorios y seminarios. Capacitación forjada en un proceso continuo de experimentación y producción teórica.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;En el Centro de Teatro del Oprimido, los y las Curingas construyeron un camino de formación a partir de grupos de TO donde iniciaron sus procesos de multiplicación.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Claudete Felix, profesora de portugués y literatura, trabajaba con un grupo de animadores culturales, bajo la supervisión de Boal. Helen Sarapeck, bióloga, y Olivar Bendelak, ingeniero químico, integraban el grupo Arajuba na Moita (guacamaya en la maleza). Geo Britto, sociólogo, colaboraba con un grupo del sindicato de los trabajadores bancarios. Flávio Sanctum, pedagogo, fue integrante de los grupos GHOTA y Artemanha. Claudia Simone, psicopedagoga, inició su experiencia organizando el grupo Pirei na Cenna (locos en escena). Y yo, Bárbara Santos, socióloga, en el grupo Virando a Mesa, formado por profesoras.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Entre los Curingas asociados: Cláudio Rocha, arte-educador, que comenzó su experiencia en el grupo Pressão no Juízo (prisión en juicio), en Recife, Yara Toscano, psicóloga y Kelly di Bertoli, actriz profesional, a través de proyectos de CTO en São Paulo.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Más recientemente, se han integrado al equipo, Monique Rodrigues, del grupo Panela de Opressão (las ollas de opresión), y Alessandro Conceição, del grupo Pirei na Cenna.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;La multiplicación se puede iniciar de forma puntual, dentro del propio grupo y  ampliarse gradualmente a través de talleres y cursos; organización y coordinación de grupos comunitarios; producción de espectáculos; mediación de diálogos teatrales; estímulo a acciones sociales concretas y continuadas, y producción de sistematización de las experiencias prácticas.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;En la actual estructura del CTO, existen Practicantes del Método actuando como Curingas, como Curingas-Asistentes o como Curingas-Comunitarios.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Curinga-Asistente es un practicante que asume responsabilidades específicas en las actividades prácticas, a pesar de no tener todavía autonomía para conducir un proceso de trabajo como un todo. Esa experiencia funciona como un estadío supervisado, siendo una estrategia de formación.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Curinga-Comunitario es un integrante del grupo de TO que se destaca como coordinador interno, que domina el tema específico del espectáculo y tiene la capacidad de poner ejercicios y juegos, de orientar ensayos y de facilitar diálogos teatrales, ejercitando el Acto de Curingar en el ámbito particular de su colectivo. Ese trabajo comunitario, al principio restringido a las especificidades del grupo, puede estimular la ampliación de esta actuación para otras áreas temáticas. Una estrategia de formación que garantiza autonomía a los grupos comunitarios.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Curingar[3] significa mediar el diálogo entre actores y espectadores en las sesiones de Teatro-Foro y de abrir el debate en las sesiones de Teatro Legislativo, promover el diálogo en cualquier actividad de Teatro del Oprimido. Curingar significa estimular al espectador a salir de su condición de consumidor de un producto cultural y asumir el lugar del productor de cultura y de conocimiento, el lugar de ciudadano: agente de transformación de la realidad. El acto de Curingar, en sí, no transforma a un Practicante de Teatro del Oprimido en Curinga, pero es un ejercicio esencial para su formación.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;La intensa difusión del Teatro del Oprimido en Brasil provocó la necesidad de  crear programas para la formación de sus Practicantes, a fin de garantizar el acceso a los fundamentos del Método y al ejercicio adecuado de su práctica. Esos programas fueron pedagógicamente estructurados a lo largo de los últimos 12 años, por el equipo de CTO, no para formar Curingas, sino para ofrecer una base sólida a todos y todas los que quisieran iniciarse como Practicantes del Método.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Para ejercer la función del Curinga, las actividades de multiplicación son esenciales, por eso el desarrollo de estas habilidades tiene que ser el núcleo de los programas de formación del CTO, que benefician a activistas de grupos culturales, movimientos sociales e instituciones socioculturales, que utilizan el TO en su acción comunitaria, para dinamizarla, diversificarla y ampliarla.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Los actuales programas de formación continua de Practicantes del Método coordinados por el CTO se destacan, más allá de sus dimensiones territoriales – Brasil, Mozambique, Guinea-Bissau, con desdoblamientos en Angola y repercusión en Senegal – por la innovación y consistencia de su estructura pedagógica.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Los cerca de 700 Practicantes de Teatro del Oprimido que fueron o están siendo formados/as por el CTO entre 2006 y 2010[4], ciertamente, muchos despuntaron como participantes de una nueva generación de Curingas, influenciada por culturas, identidades, experiencias, saberes y personalidades diversas. Una generación que seguirá el sueño de Boal de que todo el mundo pueda ejercer el derecho humano fundamental de hacer teatro y de expresarse a través de medios estéticos.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;La experiencia acumulada en este proceso histórico apunta hacia la necesidad de avanzar en la sistematización de programas para la formación de Curingas. Programas que se benefician de las conquistas alcanzadas, que busquen la superación de las insuficiencias identificadas y avancen en las estrategias de acompañamiento de los proyectos desarrollados de la gente en formación y de estímulo a la acción en red, la producción teórica y la comunicación internacional.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;El Teatro del Oprimido todavía no completa cuatro décadas de existencia, aún así, está presente en los cinco continentes, es utilizado por centenares de practicantes, que benefician a millares de personas. Las prácticas son diversas, en dimensiones, áreas de actuación, estilos, metas y resultados.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;La impresionante difusión del Método genera la necesidad del fortalecimiento de los fundamentos y principios básicos del Árbol del Teatro del Oprimido, y la sistematización de su estructura pedagógica, con el fin de garantizar su autenticidad, donde quiera que se aplique.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;Siendo Curinga o si se está en el proceso de serlo, los practicantes de TO se deben comprometer con la esencia humanista, pedagógica y democrática del Método. La ética y la solidaridad como fundamentos y guías. La multiplicación y la organización como estrategias. La promoción de acciones sociales continuadas y concretas, teniendo como meta la transformación de realidades opresivas.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;i&gt;Traduccíon: Lala Fernández&lt;/i&gt;&lt;/div&gt; &lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;[1] Poeta español.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;[2] Av. Mem de Sá, 31 – Lapa – RJ / RJ - Brasil CEP: 20.230-150 www.cto.com.br 55 21 2232-5826&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;[3] En español no existe un término para este neologismo, &lt;i style=&quot;mso-bidi-font-style: normal&quot;&gt;curingar &lt;/i&gt;sería algo así como “el acto de ser comodín”, pero “comodinear” no tiene el mismo efecto y sentido que tiene la palabra en portugués, por eso la utilizaremos así: &lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;curinga &lt;/i&gt;y&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt; curingar.&lt;/i&gt;&lt;/div&gt;&lt;!--StartFragment--&gt;    &lt;!--EndFragment--&gt;   &lt;div style=&quot;text-align: justify;&quot;&gt;[4]Los proyectos desarrollados en este periodo contaron con el apoyo del gobierno federal, a través del Ministerio de Educación, del Ministerio de Salud y del Ministerio de Cultura, este último es actualmente el  apoyo más importante para la institución.&lt;/div&gt;&lt;div style=&quot;text-align: justify;&quot;&gt;&lt;br /&gt;&lt;/div&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/5348503928860357535/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/el-arte-de-curingar-espanol.html#comment-form' title='2 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/5348503928860357535'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/5348503928860357535'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/el-arte-de-curingar-espanol.html' title='El Arte de Curingar (Español)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>2</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-2972088630038899112</id><published>2010-08-19T05:59:00.000-07:00</published><updated>2010-08-19T06:02:35.195-07:00</updated><title type='text'>Laboratório Magdalena - Teatro de las Oprimidas (Español)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right&quot;&gt;&lt;span style=&quot;font-family: Arial;mso-bidi-mso-bidi-font-weight:boldfont-family:Arial;&quot;&gt;Bárbara Santos y Alessandra Vannucci*&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;b&gt;&lt;span style=&quot;font-family:Arial; mso-bidi-font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-weight: normal; &quot;&gt;La idea de Magdalena fue creciendo en nosotras durante un tiempo. Una de nosotras, mientras trabajaba en Italia con una compañía de teatro conformada por mujeres, estaba investigando historias de mujeres que combatían en la segunda guerra mundial, mujeres esclavas de sus frustraciones en un espejo de un gimnasio, mujeres santas y brujas que terminaron protagonizando tres textos teatrales entre 2005 y 2010.&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;Asimismo, ella organizó un festival centrándose en el cuerpo femenino en 2009. La otra, mientras viajaba entre Brasil y África para coordinar un proyecto de Teatro del Oprimido llamado “de Punto a Punto”, concentrado en la calificación y difusión del método creado por Augusto Boal, vio que la opresión en contra de la mujer se repetía y multiplicaba de manera vertiginosa en las obras de Teatro Foro. Esto la motivó a escribir el musical &lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;Canção para Madalena&lt;/i&gt;&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;(Canción para Magdalena). Ese fue el texto que generó nuestros primeros intercambios de impresiones en este campo, allá por el año 2004.&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span style=&quot;mso-spacerun: yes&quot;&gt;    &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;&lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;b&gt;&lt;span style=&quot;font-family:Arial; mso-bidi-font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-weight: normal; &quot;&gt;&lt;span style=&quot;mso-spacerun: yes&quot;&gt;Obtener el premio de Interacciones Estéticas y Residencias Artísticas en Puntos de Cultura (Ministerio de Cultural – Funarte: Fundación Nacional de Artes) en 2009 viabilizó nuestro reencuentro productivo, iniciado en 1995, en el programa de intercambio del Centro de Teatro del Oprimido.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/b&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Nuestro punto de partida fue el cuerpo femenino, este que pasó por cambios radicales, permaneciendo guardado por siglos, protegido y censurado por el cuerpo masculino y que hoy en día parece cumplir un rol protagonista en los medios y en nuestro imaginario. Cuerpo desnudo, exhibido, sensual o trivial, reinventado, exprimido y despedazado afuera, en las páginas de las revistas, en las pasarelas de la moda o de la samba. Cuerpo que se convirtió en el mejor vehiculo para vender cualquier producto y presentar batalla entre la cultura y los derechos humanos fundamentales.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;El programa que hemos desarrollado ha tenido como propuesta la exploración. Hemos mezclado ideas y ejercicios de construcción de escenas y de personajes, obtenidos de nuestras experiencias profesionales como directoras y como parte de la investigación de la Estética del Oprimido como Curinga**. Creamos un camino abierto, deseando cosas por descubrir, por eso lo llamamos “laboratorio” y no “taller”. A partir de la investigación temática y de las imágenes, desarrollamos dinámicas que investigaron preguntas esenciales: ¿cuáles modelos ancestrales aún hoy influyen a la mujer moderna? ¿Cuáles contextos sociales condicionan el cuerpo de ser mujer? ¿Qué lugares ocupamos y cuáles queremos ocupar? ¿Cuáles expectativas, cuáles sueños? ¿Cuáles alternativas?&lt;span style=&quot;mso-spacerun: yes&quot;&gt;   &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Usamos teatro Periódico, teatro Imagen, Arcoiris del Deseo, teatro Foro, Estética del Oprimido y otras diversas técnicas teatrales para estimular a las participantes a reconocer y desenmascarar sus opresiones y, especialmente, analizar sus posturas dentro de las mismas. En menos de una semana, tiempo de duración de cada laboratorio, las Magdalenas produjeron declaraciones de identidad, poemas, pinturas individuales y colectivas, esculturas, actuaciones, escenas de Teatro foro y eventos que permitieron un debate político y estético de la sociedad en su conjunto. También actuamos el ritual de “las manos que cuentan”: las Magdalenas pintaron sus manos y las usaron como un sello de goma para firmar una tela de 10 metros de largo, la cual fue dada a todas las participantes. Los shows: EVA, en Cariri; MADALENA (en Río de Janeiro); MARIA-RITUAL DE PARIDEIRA, en Guinea Bissau; A VOZ DE ROSA in Mozambique.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;span style=&quot;mso-spacerun: yes&quot;&gt;La violencia doméstica y el machismo fueron temas centrales, como una preocupación justificada tanto en las narraciones personales como en las estadísticas. Pero las preguntas más presentes no estaban relacionadas al opresor, pero si a las oprimidas investigando sobre sus posturas, ideas y comportamientos que contribuyen, ratifican y permiten la opresión. No se trató de psicoanalizar a la opresión sino de rasgar el incomprendido velo para revelar los mecanismos de persuasión y condicionamiento.&lt;span style=&quot;mso-spacerun: yes&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Magdalena, espejo de resonancia y espacio de creación compartido en el que cada mujer se reconoce un poco en otra mujer, proceso que nos hizo avanzar a través de una vivencia lúdica, poética, emocionante e intensa en la cual estuvimos realmente juntas. Los descubrimientos fueron fuertes. El adueñamiento y explotación del cuerpo femenino para la producción y la reproducción en un momento histórico en el que la sociedad capitalista y patriarcal se instala brutalmente. La culpa atribuida a la mujer, desde la primera Eva en el Génesis, en la tradición cristiana-judía como arma con la cual hoy todavía somos intimidadas en nuestro “poder ser” y limitadas en el ejercicio de nuestros derechos cotidianos. Los “policías en la cabeza” (no siempre masculinos) que invaden nuestros cerebros tornándose nuestros opresores más insidiosos, que eximen la acción violenta del antagonista: somos nosotras mismas quienes nos reprimimos. ¿Cuántas veces renunciamos a lo que queremos? ¿Cuántas veces reproducimos hábitos que ya no queremos más?&lt;span style=&quot;mso-spacerun: yes&quot;&gt; &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;El trabajo en el laboratorio nos permitió modificar los caminos a seguir e investigar los descubrimientos. En la investigación de las ancestrales, seguimos el camino corporal de la madre y la abuela, y así sucesivamente hasta la más distante. En un laboratorio las participantes crearon cuerpos de mujeres abatidas, con gestos repetitivos de trabajo, expresivos de un cansancio extremo, lamentos sin memorias. Cambiamos de día, de hora y de siglo. Continuaron trabajando, en el cuerpo imaginario de nuestras mujeres ancestrales como también en el propio, ayer como hoy. En otro laboratorio, vivenciamos un viaje intenso y emocionante al espacio sagrado de la maternidad y nostalgia por los cuerpos femeninos que nos parieron y criaron como mujeres, trasmitiéndonos también todas las armas del género.&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align: justify;&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;En otros buscamos la permanencia de nuestros ancestros en nuestros cuerpos, gestos, hábitos, que influyeron nuestro juicio y también el de nuestras contemporáneas. Seguimos adelante, investigando los cuerpos de esas mujeres recordadas, conocidas y / o imaginadas, creando condiciones para que se encuentren en un espacio de confianza y de confiar lo inconfesable, aunque más no fuera para verse dentro de un espejo imaginario.&lt;span style=&quot;mso-spacerun: yes&quot;&gt; &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Notamos que el recuerdo de nuestras ancestras tenía en común mucho trabajo por un lado, y apatía, fragilidad, dependencia y resignación por el otro. Mientras que en las experiencias en que propusimos la vivencia de la mujer primitiva, esta apareció fuerte, dinámica, independiente, osada y aliada a otras mujeres. ¿Qué hubiera sucedido en el imaginario femenino si esa imagen de fortaleza e independencia se hubiera perdido? ¿Podría estar relacionado al Génesis que describe esa osadía y ese deseo de saber como el pecado universal que es culpa de la mujer y por ello su castigo es ser echada del paraíso? ¿Estaría relacionado al establecimiento de una determinada modo de producción, ahora dominante, en que la mujer es subalterna? Enfrentamos una imagen de mujer estigmatizada por la culpa de haber osado tomar el fruto del árbol del bien y del mal, del conocimiento, contrariando la prohibición de un dios... macho.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Intentamos también dejarnos recorrer por los lugares en los que estuvimos: en Juazeiro del Norte, tierra de peregrinos, fuimos a una feria de devotos enfrente a la iglesia, cantando y danzando nuestra música -&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;la canción de las Magdalenas - para invitar al público. En Río, improvisamos una salida de “guerrilla urbana” en plena Lapa, armadas con lápiz labial rojo y buenos humores, modificamos las imágenes y los letreros machistas que encontrábamos por el camino. En Guiné-Bissau, participamos de la ceremonia de “paridas” (mujeres-madres) vivenciando la vivencia de las africanas con sus ancestras.&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;span style=&quot;mso-spacerun: yes&quot;&gt;Trabajamos con diversas mujeres: trabajadoras domésticas, culturales, sociales, artistas de teatro y de la vida, mujeres en busca de identidad y visibilidad, dispuestas a escribir una nueva historia para si y para todas las mujeres. Brasileñas, italianas, argentinas, mejicanas, portuguesas, guinesas y mozambiqueñas que creen que un nuevo mundo es posible.&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;Valiosas asociaciones: mujeres y hombres del Centro de Teatro del Oprimido, SESC - Ceará, Carroça de Mamulengos, Caixa Cultural do Rio de Janeiro, Abaeté, WFD – Berlín, GTO-Bissau, Centro Cultural Brasil Guiné-Bissau, Grupo AMIZADE de São Domingos, Universidad Federal de Ouro Preto, GTO-Maputo, Centro Cultural Brasil Mozambique, Rádio Mozambique, Red Globo, amigas e amigos. Claudia Simone, del equipo do CTO, quien comenzó como participante, se transformó en productora y terminó siendo de nuestro equipo también.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt;El árbol de las Magdalena y sus frutos: el Laboratorio Magdalena es hoy un curso de la extensión universitaria en Minas Gerais; formación de dos núcleos Magdalena en Ceará (Cariri y Fortaleza); formación de un núcleo Magdalena en Santa Catalina con apoyo del sindicato (Sintrafesc); participación en la marcha mundial de mujeres en São Paulo; ocupación de Teia de Pontos de Cultura en Fortaleza; multiplicación en Portugal con el Núcleo Teatro do Oprimido do Porto; multiplicaciones planeadas para Alemania e India. Un largo camino de posibilidades se abre para el Laboratório Magdalena – Teatro de las Oprimidas.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;span lang=&quot;ES-AR&quot;  style=&quot;font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;&quot;&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal&quot;&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi- font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;font-size:12.0pt;&quot;&gt;Tradución: Carolina Echeverria&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal&quot;&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi- font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;font-size:12.0pt;&quot;&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none&quot;&gt;&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi-font-family:Arial; mso-bidi-mso-ansi-language:ES-AR;mso-fareast-language:EN-USfont-family:Arial;font-size:12.0pt;&quot;&gt;*Alessandra Vannucci es diretora teatral. Juntas concebimos esta emocionante experiencia.&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none&quot;&gt;&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi-font-family:Arial; mso-bidi-mso-ansi-language:ES-AR;mso-fareast-language:EN-USfont-family:Arial;font-size:12.0pt;&quot;&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;mso-layout-grid-align: none;text-autospace:none&quot;&gt;&lt;i style=&quot;mso-bidi-font-style:normal&quot;&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi-font-family:Arial; mso-bidi-mso-ansi-language:ES-AR;mso-fareast-language:EN-USfont-family:Arial;font-size:12.0pt;&quot;&gt;**Curinga es una terminología creada por Augusto Boal en el Teatro de Arena de São Paulo, en la década de 1960 para un creativo sistema de atuación donde actores y actrices se alternavan los personajes. En seguida, pasó a utilizar el mismo término para identificar al practicante de su Método - Teatro do Oprimido, que tiene la función de de estimular el diálogo teatral en las sesiones de Teatro-Fórum.&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;ES-AR&quot;   style=&quot;font-size:11.0pt;mso-bidi-font-family:Arial;mso-bidi-mso-ansi-language:ES-ARfont-family:Arial;font-size:12.0pt;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/2972088630038899112/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/laboratorio-magdalena-teatro-de-las.html#comment-form' title='2 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2972088630038899112'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2972088630038899112'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/laboratorio-magdalena-teatro-de-las.html' title='Laboratório Magdalena - Teatro de las Oprimidas (Español)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>2</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-1766656284685459765</id><published>2010-08-17T10:00:00.000-07:00</published><updated>2010-08-17T10:03:36.036-07:00</updated><title type='text'>Riz, Féves, Boal et Education (Français)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;1991: moi, professeur d&#39;école publique, et mon groupe composé de femmes professeurs, recevions le &lt;i&gt;théâtrologue&lt;/i&gt; pour un atelier à l&#39;école. Lui, il voulait connaître notre travail et collaborer avec nous. Une rencontre inoubliable. Un travail tellement agréable que cela ressemblait à une fête. Fin de l&#39;atelier. Heure du goûter!&lt;br /&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;L&#39;heure du goûte, c&#39;est le moment de la pause-repas. Au Brésil, dans les écoles publiques, les enfants reçoivent un repas journalier comme complément alimentaire. Ce sont des repas simples et nourrissants. Dans les écoles comme celle où nous étions, les repas étaient délicieux.&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Notre dilemme: comment inviter le &lt;i&gt;théâtrologue&lt;/i&gt; international, que nous ne connaissions pas bien, à manger des fèves et du riz dans le réfectoire de l&#39;école? Des fèves noires et du riz, c&#39;est ce qu&#39;il y a de plus simple et basique et, en même temps, de plus typique, principalement sur la table du &lt;i&gt;carioca&lt;/i&gt;. Eva Pereira dos Santos, star de la pièce et directrice de l&#39;école lança l&#39;invitation: “Boal, on va mangez un plat de fèves, cher ami?”. Il répondit avec un sourire rusé dissimulé au coin des lèvres et avec un regard d&#39;enfant affamé: “Un plat de fèves? Qui pourrait refuser?”.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Alors que je mangeais des fèves noires de l&#39;école publique, j&#39;ai connu un homme compétent, dynamique, sensible, sympathique, accessible, simple et complexe. Très simple et très complexe. J&#39;ai eu le plaisir de travailler avec lui près de deux décennies au Centre de Théâtre de l&#39;Opprimé, centre duquel il a été directeur artistique, leader politique et référent idéologique pendant 23 ans.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;C&#39;était quelqu&#39;un qui savait apprécier la richesse de chaque instant, qui ne se laissait pas séduire par le pouvoir, l&#39;argent, le luxe ou le confort, même s&#39;il savait en profiter. Il était capable de savourer avec la même intensité une rencontre internationale ou une formation&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;dans une école publique de la banlieue de Rio de Janeiro. Il valorisait autant le prix “Lutte pour la terre” qu&#39;il a reçu du Mouvement des Travailleurs Sans Terre, suite au vote direct des paysans de tout le Brésil, que la nomination d&#39;Ambassadeur Mondial du Théâtre offerte par l&#39;UNESCO.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Il était capable d&#39;apprécier autant une bonne &lt;i&gt;cachaça&lt;/i&gt;, un pure whisky écossais, un petit café dans un coin de Lapa, ou encore un bon vin rouge à la maison, un sandwich au fromage au CTO ou une bonne cuisine française. C&#39;était un homme qui connaissait la différence entre les choses, qui savait qu&#39;il fallait relativiser pour comprendre, pour apprécier et pour vivre. Il savait que les différences enferment des richesses et qu&#39;elles représentent des opportunités de connaissance.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Dernièrement, il insistait: l&#39;infini s&#39;étend, l&#39;univers à l&#39;extérieur et le corps à l&#39;intérieur. Il est nécessaire de chercher à savoir du macro et du micro. Et de la relation entre les deux.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Un homme qui connaissait les impossibilités du savoir et qui, à la fois, appréciait la recherche infinie de savoir: Un homme ouvert pour apprendre. Il apprenait aux côtés du bébé de la voisine, en observant sa façon de comprendre le monde. Il apprenait aux côtés de Hamilton, musicien et usager de santé mentale, en essayant de comprendre pourquoi la musique était son meilleur remède. Il apprenait aux côtés de María, aide ménagère, comment le théâtre faisait qu&#39;elle se sente femme. Il apprenait insatiablement, en écoutant, en étudiant, en observant. Et lorsqu&#39;il parlait, il demandait toujours: “Vous me comprenez? C&#39;est clair ce que je suis en train d&#39;essayer de dire?” Il ne posait pas la question pour poser la question; il posait la question pour comprendre.&lt;span style=&quot;mso-spacerun: yes&quot;&gt; &lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Qu&#39;est-ce qui aurait bien amené cet homme à se rendre à cette école de banlieue pour travailler avec des professeurs qui étaient incapables de lui payer le taxi? Peut-être parce que celles-ci étaient critiques par rapport au système d&#39;enseignement dont elles faisaient partie et par rapport aux principes archaïques au service d&#39;une pédagogie oppressive. Il voulait coopérer avec ces professeurs parce qu&#39;elles cherchaient ensemble, de façon collective, la transformation d&#39;une réalité injuste et oppressive:&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Il est sorti de chez lui et s&#39;est rendu à l&#39;école de banlieue pour la même raison qu&#39;il s&#39;était rendu chez les paysans sans terre, sur les lieux d&#39;occupation urbaine, au syndicat, à l&#39;association de voisins/-ines, dans la &lt;i&gt;favelas&lt;/i&gt;, à l&#39;université, à la prison, à l&#39;hôpital psychiatrique et dans beaucoup d&#39;autres endroits où il y avait des personnes déterminées à lutter de façon éthique et esthétique.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Ce n&#39;était pas un homme de charité. Il croyait en la solidarité. Coopérer avec ceux qui étaient prêts à lutter et non conformes, en attente de la grâce divine. Avec ceux qui savent que le clé seule n&#39;ouvre pas la porte et qu&#39;il faut travailler. Coopérer avec ceux qui sont ouverts pour échanger, apprendre, enseigner et multiplier des connaissances et des stratégies de façon solidaire.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot; ;font-family:Georgia, serif;&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;Il était vaniteux, il aimait être admiré mais pas adulé. Il aimait être accompagné mais pas suivi. Il aimait convaincre, non pas imposer. Il appréciait les paroles de compréhension mais n&#39;avait pas la patience d&#39;écouter des échos. Il était exigent, discipliné, &lt;/span&gt;&lt;span lang=&quot;ES&quot;  style=&quot;font-family:Arial;&quot;&gt;opiniâtre&lt;/span&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;, génial, tendre, émotif, cohérent et engagé. Simple et complexe. Vieux jeu et moderne. A la fois d&#39;une époque où le mot prononcé avait valeur de contrat, et d&#39;une autre, où tout ce qui est certain vole en poussière. &lt;/span&gt;&lt;span lang=&quot;ES&quot;  style=&quot;font-family:Arial;&quot;&gt;Contemporain&lt;/span&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language: FR;font-family:Arial;&quot;&gt; jusqu&#39;au dernier cheveu de sa vaste chevelure.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Nous pouvons rendre hommage à cet homme en utilisant ce qu&#39;il nous a légué pour humaniser l&#39;humanité; pour la révolte de l&#39;opprimé/-ée et non pour son adaptation; pour l&#39;appropriation des moyens de production culturelle et non pour l&#39;asservissement de la consommation; pour dévoiler la structure du conflit et non pour le pacifier dans l&#39;ignorance; pour motiver l&#39;action qu&#39;exige ce dernier et construire le changement et non pas attendre un geste de bonté; pour aider à ouvrir les yeux et non pour aveugler avec des subterfuges déguisés en solutions.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Rendre hommage à Augusto Boal, c&#39;est comprendre que le Théâtre de l&#39;Opprimé appartient à l&#39;opprimé/-ée et doit être réalisé par l&#39;opprimé/-ée et pour l&#39;opprimé/-ée. Et il ne doit, en aucun cas, servir, bénéficier ou aider le système qui opprime, exploite, contrôle et manipule, visant l&#39;accumulation de richesses d&#39;une minorité aux dépends de la spoliation de la majorité.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;Rendre hommage a Boal est une tâche simple, et à la fois complexe.&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial, serif;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: italic; &quot;&gt;Traduction: &lt;span style=&quot;mso-spacerun: yes&quot;&gt; &lt;/span&gt;Stéphanie Mouton&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p style=&quot;margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify&quot;&gt;&lt;span lang=&quot;FR&quot;  style=&quot;mso-ansi-language:FR;font-family:Arial;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot; ;font-family:Georgia, serif;&quot;&gt;*Bárbara Santos est sociologue, actrice et &lt;i&gt;Curinga&lt;/i&gt; Internationale du Centre de Théâtre de l&#39;Opprimé, où elle a été Coordinatrice Générale de 1994 à 2008 et où elle a accumulé une large expérience dans la formation de pratiquants de la méthode. Elle a travaillé avec Augusto Boal jusque 2009.”&lt;span style=&quot;mso-spacerun: yes&quot;&gt;  &lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/1766656284685459765/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/riz-feves-boal-et-education-francais.html#comment-form' title='0 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1766656284685459765'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/1766656284685459765'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/riz-feves-boal-et-education-francais.html' title='Riz, Féves, Boal et Education (Français)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>0</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-2569902158731823916</id><published>2010-08-13T08:32:00.000-07:00</published><updated>2010-08-22T04:04:15.696-07:00</updated><title type='text'>The Art of the Kuringa (English)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align: right;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial, serif;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;i&gt; &lt;!--StartFragment--&gt;  &lt;/i&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Arial, serif;&quot;&gt;&lt;i&gt;&lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align: right;&quot;&gt;&lt;i&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;The Curinga&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftn1&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt; (Joker) is a multifunctional card in the deck. In each game, a specific function.&lt;/span&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Augusto Boal baptized the facilitators of the Theater of the Oppressed as a “Kuringa”: artists with a pedagogical function; practitioners, studious and researchers of his Method. A Kuringa could be defined as a specialist in a constant process of learning. Someone who not only knows the techniques that constitute the Tree of Theater of the Oppressed, but also that it represents the pedagogical structure of the Method, composed of coherent and interdependent branches—fruits discovered from the need to effectively respond to reality.&lt;/span&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;To exercise the function of the Kuringa demands rigorous knowledge of practical and theoretical TO’s foundations—ethical, politics, pedagogy, aesthetic and philosophy—while at the same time, being sensible to the demands of reality and capable of reinventing the known, to ultimately tend to the concrete needs of each group.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A Kuringa must be able to enter a scene and act, to conduct workshops and theoretical and practical courses; organize and coordinate popular groups; orient the production of Forum Theater performances (from the creation of images to the collective text); to mediate theatrical dialogue in Forum Theater and in Legislative Theater sessions, to stimulate the concretion of concrete and continuous social action and, of course, systematize his or her experience so that it serves other practitioners and contribute to the development of the Method.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The Theater of the Oppressed is a joyful and pedagogical method, an efficient instrument of communication and inquiry for concrete alternatives to real problems, through aesthetic means. It creates conditions so that the oppressed appropriate the means to produce theater and consequently, amplify their expressive possibilities. By eliminating the barrier between the stage and audience, the TO establishes an active, democratic, and purposive dialogue.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The Kuringa is the one who facilitates this Dialogue, establishing horizontal communication that is both investigatory and goal-oriented. To facilitate does not mean to offer answers or present paths, but to help in the analysis of alternatives presented with questions and inciting comparisons, that encourage expression and guarantee a space for a diversity of opinions.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;In the Theater of the Oppressed, the functions of the Kuringa are diverse and complex—from the aesthetic identification and representation of a conflict, to the discussion of strategies and their viability, to the steering of the transformation of the reality set on stage.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Whoever occupies the function of the Kuringa must assist people to discover their own potential, to let them know themselves better, to express their ideas and emotions, to analyze their problems and to search their own alternatives. The Kuringa is not someone who has the correct answers, but someone who formulates questions that generate responses that provoke new questions. It’s not about finding the perfect answer, rather stimulating possible answers that depict a desired reality and to make that reality palpable.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;To take on the role of the Kuringa, it’s necessary to incessantly search a specialization in diversity, through a multidisciplinary formation and attitude, because the Tree of TO feeds itself on human knowledge to be able to promote concrete actions. It’s necessary to know of theater, culture, education, psychology, politics, ecology, economy, and whatever more is possible— associating knowledge with sensibility and good sense is an essential attitude.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;TO is widely practiced around the world, in diverse languages, cultures and geographies, and it serves the universalization of knowledge and the common good, basing itself on respect for specific local identities, while radically opposing mass uniformity.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Although it is expected that its practitioners follow the same theoretical and practical foundation—ethical, pedagogical, aesthetic, philosophical, and political, systematized by Augusto Boal—TO in India must be Indian, or Mozambique’s Mozambican, or Palestine’s Palestinian, or Canada’s Canadian, and Brazil’s Brazilian. TO should be identified with the locale specifics where be practiced.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The rigorous attention to the basis of the Method guarantees a global identity that allows a practitioner from India to recognize himself in a Forum made in Mozambique. And the principle that this technique must be in service of people, considering their concrete needs and specific location demands, requires and promotes diversity. The Theater of the Oppressed must be the same in every place, being at the same time, specific in each one of them.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The Groups of Theater of the Oppressed—GTO’s—work in varied issues, from domestic, urban and sexual violence, to agrarian reform; from AIDS prevention to racial, social, and gender discrimination; from sexual plurality to labor rights, among others.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;These are issues of many lives, of many places; therefore, how can someone train to assume the role of the Curinga? How can we guarantee a qualification that takes into account such great complexity?&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Qualification must, essentially, be uninterrupted and long-term, so that it does not restrict itself to theoretical studies, depend on the practical experimentation and demand human maturity. Theater of the Oppressed can only be appropriated by someone who generously shares his/her knowledge and experiences. It is a method that it is only learned by teaching and one which is only taught being open to learning. This process of formation just can take place giving time its time.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Paraphrasing Antônio Machado&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftn2&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, a Kuringa is a traveler who &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;makes his/her way by walking&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. This journey begins in its multiplication. The way is infinite. Its diverse destinations are the overcoming of oppressive realities.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;While having a solid base, cemented in Ethics and Solidarity, TO is not a static Method or conclude: it amplifies with each discovery and deepens in each systematization. This dynamic is the principal challenge in the formation of the one who wishes to take on the role of a Kuringa.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A Method in constant movement and development, in principle, cannot have formed specialists. Its practitioners must be people in movement, in a state of learning, conscious that knowledge is a life-long endeavor and not a bureaucratic accumulation. Throughout his whole life, Augusto Boal was in motion, facing each discovery as reference point for a new beginning.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;In Theater of the Oppressed, practical action feeds theoretical production which must be, at the same time, its foundation and starting point.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Augusto Boal initiated the systematization of his TO Method during the decade of the 1970’s, in Brazil (Newspaper Theater) and continued discovering techniques in his period of exile in Argentina (Invisible Theater), in Chile (Image Theater), in Peru (Forum Theater), in France (Rainbow of Desire) and everywhere else he went to before returning to Brazil in 1986. In Rio de Janeiro, he founded the Centro de Teatro do Oprimido, &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;www.cto.org.br&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, with a team of Kuringas, and did not stop (Legislative Theater) his continuing research of Aesthetics of the Oppressed towards the end of his life, to constantly amplify TO’s arsenal of exercises and games.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Throughout the 23 years as Artistic Director of Centro de Teatro do Oprimido— CTO&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftn3&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, Boal personally took care of the formation and realization of Kuringas from his team, through Theoretical Seminars, Practical Laboratories and Center of General Studies. Activities included the analysis and production of theoretical texts; evaluation of project development; revision, experimentation and systematization of exercises, games and techniques of the Tree of Theater of the Oppressed and its dramaturgy; and study of political and social themes. Jokers formed through their practical application in socio-cultural projects and analytic reflection in laboratories and seminars. Their qualification was forged in a continuous process of experimentation and theoretical production.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;In the Centro de Teatro do Oprimido, Kuringas made their qualification way beginning with TO community groups where they initiated their process of multiplication.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Claudete Felix, Portuguese and Literature teacher, acted in a group of cultural presenters, supervised by Boal. Helen Sarapeck, biologist, and Olivar Bendelak, chemical engineer, were part of the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Arajuba na Moita&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. Geo Britto, sociologist, collaborated in a group comprised of trade union bankers. Flávio Sanctum, pedagogue, was member of two groups, &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;GHOTA &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;and &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Artemanha&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. Claudia Simone, educational psychologist, initiated her experience organizing the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Pirei na Cenna&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. And I, Bárbara Santos, sociologist, in the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Virando a Mesa&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, formed by teachers.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Among associated Kuringas: Cláudio Rocha, arts educator, commenced his experience with the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Pressão no Juízo, &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;in Pernambuco; Yara Toscano, psychologist, and Kelly di Bertoli, professional actress, through CTO projects in São Paulo.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;More recent members of the team are Monique Rodrigues, of the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Panela de Opressão&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, and Alessandro Conceição, of the group &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Pirei na Cenna&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Multiplication can be initiated formally, within a group and by gradually amplifying its reach through workshops and courses; organizing and coordinating community groups; producing performances; mediating theatrical dialogues, stimulating concrete and continuous social actions, and producing systems of their practical experience.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;In the current structure of CTO, there are Practitioners of the Method acting as Kuringa, as Assistant-Kuringas and as Community-Kuringas.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Assistant-Kuringas are practitioners that assume specific responsibilities in practical activities, not yet having the autonomy to conduct entire works as a whole. This experience functions as supervised training and a strategy towards their qualification.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Community-Kuringas are members of a TO groups that outstand as an internal coordinator, who master a specific theme for performance, and have the conditions to lead exercises and games, to orient rehearsals and facilitate theatrical dialogues, exercising the Role of the Kuringa in the particular surroundings of his or her collective. This community work, at first restricted to the specifics of the group, can stimulate the amplification of this Role for other themes. It’s a strategy for qualification that guarantees the autonomy of our community groups.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Kuringar&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftn4&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;means to mediate dialogue between the stage and auditorium in sessions of Forum Theater or debate in sessions of Legislative Theater, promoting dialogue in any activity of Theater of the Oppressed. Kuringar means to stimulate the spectator to leave his position as consumer of a cultural product and be, in its place, producer of culture and knowledge, or instead of citizen: agent in the transformation of reality. The Act of Kuringar, by itself, does not transform a Practitioner of Theater of the Oppressed into a Kuringa, but is an essential exercise for his or her formation.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The intense diffusion of Theater of the Oppressed in Brazil provoked a need to create programs for the qualification of its Practitioners, in order to guarantee access to the fundamentals of the Method and to adequately exercise its practice. Throughout the past twelve years, these programs were pedagogically structured by the CTO team, not to form Kuringas, but to offer a solid basis for everyone who wanted to begin a journey as Practitioners of the Method.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;To exert the role of the Kuringa, the activities of multiplication are essential; therefore, the development of these skills has been the center of CTO’s qualification programs, which benefitted activists from cultural groups, social movements, and socio-cultural institutions, who utilized TO in their community activities, in order to make them more dynamic, diverse, and amplified.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The current programs coordinated by CTO to continue the qualification of Practitioners of the Method do not distinguish themselves solely on their territorial dimensions—Brazil, Mozambique, Guinea-Bissau, with ramifications in Angola and repercussions in Senegal—but, more importantly, by their innovation and consistency in its pedagogical structure.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;From the approximately 700 Practitioners of Theater of the Oppressed that were, or are currently, qualified by CTO between 2006-2010&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftn5&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, many where, evidently, emerging as participants of a new generation of Kuringas, influenced by diverse cultures, identities, experiences, knowledge and personalities. A generation that will follow Boal’s dream that the whole world can exert the basic, human right to make theater and to express him or herself through aesthetic means.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The accumulated experience of this historic process points out the need to advance the systematization of programs for the qualification of Kuringas. Programs that benefit from the conquests attained, search for the resolution of identified insufficiencies, advance the strategies accompanying projects developed by those already formed, and stimulate action through networks, theoretical production and international communication.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The Theater of the Oppressed has not yet completed four decades of existence; nevertheless, it is present in five continents, being utilized by hundreds of practitioners, benefitting thousands of people. Its practices are diverse, in dimensions, action areas, styles, goals and results.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The impressive diffusion of the Method creates a need to strengthen the foundation and basic principles of the Tree of Theater of the Oppressed and to systematize its pedagogical structure, in order to guarantee its authenticity, wherever it is being applied.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Being a Kuringa or being in the process of becoming one, Practitioners of Theatre of the Oppressed must commit to the humanistic, pedagogic, and democratic essence of the Method. Ethics and solidarity as fundamentals and guide. Multiplication and organization as strategies. The promotion of continuous and concrete social actions for the transformation of oppressive realities as a goal.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Translation:&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; Kyoung Park &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;kyounghpark@gmail.com&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;div style=&quot;mso-element:footnote-list&quot;&gt;  &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; style=&quot;text-align: justify;&quot;&gt;    &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoFootnoteText&quot; style=&quot;text-align: justify;&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftnref&quot; name=&quot;_ftn1&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-GB&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Curinga is the original terminology and &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;comes from a creative process of acting that Augusto Boal developed in the Teatro de Arena, in São Paulo-Brasil, during 1960s. Afterwards he used the same title to identify the &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-GB&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Theatre of the Oppressed &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;practitioner &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-GB&quot;  style=&quot;font-family:Arial;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;and its expert (which mean the one who is in the continuing process of research and learning). Normally, Curinga is transle into English as Joker. On the international communication, Bárbara is adopting the word Kuringa.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftnref&quot; name=&quot;_ftn2&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Spanish poet. &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoFootnoteText&quot; style=&quot;text-align: justify;&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftnref&quot; name=&quot;_ftn3&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Av. Mem de Sá, 31 – Lapa – RJ / RJ - Brasil CEP: 20.230-150 &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;www.cto.com.br &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;55 21 2232-5826&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftnref&quot; name=&quot;_ftn4&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[4]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;We could say that this is a specific verb in TO language which expresses an important role of the Kuringa (Joker): Kuringar (jokering).&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div style=&quot;mso-element:footnote&quot; id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=2569902158731823916#_ftnref&quot; name=&quot;_ftn5&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[5]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;The projects developed in this period had the support from the Brazil government: Ministry of Education, Ministry of Health, and Ministry of Culture. The last one is the bigger actual partners of CTO.&lt;/span&gt;&lt;/span&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;/div&gt;  &lt;!--EndFragment--&gt;   &lt;/i&gt;&lt;/span&gt;&lt;p&gt;&lt;/p&gt;&lt;div style=&quot;mso-element:footnote-list&quot;&gt;&lt;div style=&quot;mso-element:footnote&quot; id=&quot;ftn&quot;&gt;  &lt;/div&gt;  &lt;/div&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/2569902158731823916/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/art-of-kuringa.html#comment-form' title='2 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2569902158731823916'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/2569902158731823916'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/art-of-kuringa.html' title='The Art of the Kuringa (English)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>2</thr:total></entry><entry><id>tag:blogger.com,1999:blog-3626548703768687465.post-3831208114051856587</id><published>2010-08-13T08:19:00.000-07:00</published><updated>2010-08-17T10:05:51.070-07:00</updated><title type='text'>A Arte de Curingar (Português)</title><content type='html'>&lt;!--StartFragment--&gt;  &lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right;mso-pagination:none; tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;   style=&quot;font-family:Arial, serif;font-size:130%;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:15px;&quot;&gt;&lt;i&gt; &lt;!--StartFragment--&gt;   &lt;!--StartFragment--&gt;  &lt;/i&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;span class=&quot;Apple-style-span&quot;   style=&quot;font-family:Arial, serif;font-size:130%;&quot;&gt;&lt;i&gt;&lt;p class=&quot;MsoNormal&quot; align=&quot;right&quot; style=&quot;text-align:right;mso-pagination:none; tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;i&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;Curinga é a carta multifuncional do baralho. Em cada jogo, uma função específica.&lt;/span&gt;&lt;/span&gt;&lt;/i&gt;&lt;/p&gt;&lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Augusto Boal batizou os e as facilitadoras do Teatro do Oprimido (TO) de “Curinga”: artistas com função pedagógica; praticantes, estudiosos e pesquisadores de seu Método. Poder-se-ia definir Curinga como especialista em constante processo de aprendizagem. Alguém que deve conhecer o conjunto de técnicas que compõem a Árvore do Teatro do Oprimido, representação da estrutura pedagógica do Método, composta por ramificações coerentes e interdependentes, fruto de descobertas feitas a partir da necessidade de responder a demandas efetivas da realidade.&lt;/span&gt;&lt;a name=&#39;more&#39;&gt;&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-family:Helvetica, serif;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Exercer a função de Curinga exige conhecimento rigoroso dos fundamentos práticos e teóricos: éticos, políticos, pedagógicos, estéticos e filosóficos do Método, e, ao mesmo tempo, ter sensibilidade para as demandas da realidade e capacidade de re- inventar o conhecido, para atender às necessidades concretas de cada grupo.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Um ou uma Curinga deve ser capaz de entrar em cena e atuar, de ministrar oficinas e cursos teóricos e práticos; de organizar e coordenar grupos populares; de orientar a produção de espetáculos de Teatro-Fórum (da criação da imagem ao texto coletivo); de mediar diálogos teatrais em sessões de Fórum e de Teatro Legislativo, de estimular a efetivação de ações sociais concretas e continuadas e, claro, de sistematizar sua experiência para que sirva a outros praticantes e contribua para o desenvolvimento do Método.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;O Teatro do Oprimido é um Método lúdico e pedagógico, um instrumento eficaz de comunicação e de busca de alternativas concretas para problemas reais, através de meios estéticos. Cria condições para que o oprimido se aproprie dos meios de produzir teatro e assim amplie suas possibilidades de expressão. Ao eliminar as barreiras entre palco e platéia, estabelece um diálogo ativo, democrático e propositivo.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Curinga é quem facilita este Diálogo, estabelecendo uma comunicação horizontal, que seja ao mesmo tempo investigativa e propositiva. Facilitar aqui não significa oferecer respostas ou apresentar caminhos, e sim ajudar na análise das alternativas, com perguntas e comparações instigadoras, que encorajem a expressão e garantam espaço para a diversidade de opiniões.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;No Teatro do Oprimido, a função Curinga é diversa e complexa: da identificação à representação estética do conflito, até a discussão e viabilização das estratégias que possibilitem a transformação da realidade encenada.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Quem ocupa a função de Curinga deve auxiliar as pessoas a descobrirem suas potencialidades, a se conhecerem melhor, a expressarem suas idéias e emoções, a analisarem seus problemas e a buscarem alternativas próprias. Curinga não é quem detêm repostas, e sim quem formula perguntas que geram respostas e que provocam novas perguntas. Não se trata de perseguir a resposta perfeita, e sim de estimular as respostas possíveis que desenhem a realidade desejada, para torná-la palpável.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Para ocupar a função Curinga é necessário buscar incessantemente a especialização na diversidade, através de formação e de postura multidisciplinares, porque a Árvore do TO se alimenta dos conhecimentos humanos para promover ações concretas. Procurar saber de teatro, cultura, educação, psicologia, política, ecologia, economia, e do que mais for possível, associando saber a sensibilidade e bom senso, é atitude essencial.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;O TO é largamente praticado no mundo inteiro, em línguas, culturas e geografias diversas, e está a serviço da universalização do saber e do bem comum, baseando-se no respeito às especificidades das identidades locais, e em radical oposição à uniformização que massifica.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Apesar de se esperar que seus praticantes sigam os mesmos fundamentos teóricos e práticos (éticos, pedagógicos, estéticos, filosóficos e políticos), sistematizados por Augusto Boal, o TO da Índia deve ser indiano, o de Moçambique, moçambicano, o da Palestina, palestino, o do Canadá, canadense, e o do Brasil, brasileiro. Enfim, em cada lugar estar identificado às especificidades daquele local.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A atenção rigorosa aos fundamentos do Método, garante uma identidade global que permite que o praticante da Índia se reconheça no Fórum feito em Moçambique. E o princípio de que a técnica deve estar a serviço das pessoas, considerando suas necessidades concretas e especificidades locais, exige e promove diversidade. O Teatro do Oprimido deve ser o mesmo em todos os lugares, sendo, ao mesmo tempo, específico em cada um deles.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Os Grupos de Teatro do Oprimido – GTO ́s – trabalham com temas variados, de violência doméstica, urbana e sexual à reforma agrária; de prevenção à AIDS a discriminação racial, social e de gênero; de diversidade sexual a direitos trabalhistas, entre outros. Temas de muitas vidas, de muitos lugares.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Então, como qualificar alguém para assumir essa função Curinga? Como garantir uma preparação que dê conta de tamanha complexidade?&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Uma formação que, necessariamente, deve ser ininterrupta e de longo prazo, por não se restringir ao estudo teórico, depender da experimentação prática e se edificar no amadurecimento humano. Teatro do Oprimido só pode ser apropriado por quem compartilha generosamente seu saber e sua experiência. Método que só se aprende ensinando e que só se ensina estando aberto para aprender. Esse processo de formação só pode se dar ao longo do tempo.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Parafraseando Antônio Machado&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftn1&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, Curinga é o/a caminhante &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;que constrói o caminho ao caminhar&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. Essa caminhada começa, necessariamente, na multiplicação. O caminho é infinito. As chegadas, diversas, são as superações de realidades opressivas.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Mesmo tendo uma base sólida, fundamentada na Ética e na Solidariedade, o TO não é um Método estático ou concluído: se amplia a cada descoberta e se aprofunda a cada sistematização. Essa dinâmica é o principal desafio à formação de quem quer exercer a função de Curinga.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Um Método em constante movimento e desenvolvimento, por princípio, não pode ter especialistas formados. Seus praticantes devem ser pessoas em movimento, em estado de aprendizagem, conscientes que conhecimento é processo de vida e não acúmulo burocrático. Durante toda a vida, Augusto Boal esteve em movimento, encarando cada descoberta como referência para o recomeço.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;No Teatro do Oprimido, a atuação prática alimenta a produção teórica que deve ser, ao mesmo tempo, seu fundamento e ponto de partida.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Augusto Boal iniciou a sistematização do Método do TO na década de 1970, no Brasil (Teatro Jornal) e seguiu descobrindo técnicas em seu período de exílio, na Argentina (Teatro Invisível), no Chile (Teatro Imagem), no Peru (Teatro- Fórum), na França (Arco-Íris do Desejo) e por onde mais passou até regressar ao Brasil em 1986. No Rio de Janeiro, onde fundou o Centro de Teatro do Oprimido, &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;www.cto.org.br &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, com a equipe de Curingas, não parou (Teatro Legislativo) e seguiu até o final de sua vida com a pesquisa da Estética do Oprimido e a constante ampliação do arsenal de exercícios e jogos.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Ao longo dos 23 anos que foi diretor artístico do Centro de Teatro do Oprimido - CTO&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftn2&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, Boal cuidou pessoalmente da formação e da atualização dos Curingas de sua equipe, através de Seminários Teóricos, Laboratórios Práticos e Centro de Estudos Gerais. Atividades para análise e produção de textos teóricos; avaliação do desenvolvimento dos projetos; revisão, experimentação e sistematização de exercícios, jogos e técnicas da Árvore do Teatro do Oprimido e de sua dramaturgia; e estudo de temas políticos e sociais. Curingas formados entre a aplicação prática em projetos sócio-culturais e a reflexão analítica em laboratórios e seminários. Qualificação forjada num processo contínuo de experimentação e produção teórica.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;No Centro de Teatro do Oprimido, os e as Curingas construíram um caminho de formação a partir de grupos de TO onde iniciaram seus processos de multiplicação.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Claudete Felix, professora de português e literatura, atuava no grupo de animadores culturais, sob supervisão de Boal. Helen Sarapeck, bióloga, e Olivar Bendelak, engenheiro químico, integravam o grupo &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Arajuba na Moita&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. Geo Britto, sociólogo, colaborava com o grupo do sindicato dos bancários. Flávio Sanctum, pedagogo, foi integrante dos grupos GHOTA e &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Artemanha&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. Claudia Simone, psicopedagoga, iniciou sua experiência organizando o grupo &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Pirei na Cenna&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;. E eu, Bárbara Santos, socióloga, no grupo &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Virando a Mesa, &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;formado por professoras.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Entre Curingas associados: Cláudio Rocha, arte-educador, que começou sua experiência no grupo &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Pressão no Juízo, &lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;em Recife, Yara Toscano, psicóloga, e Kelly di Bertoli, atriz profissional, através de projetos do CTO em São Paulo.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Mais recentemente, integrando a equipe, Monique Rodrigues, do grupo Panela de Opressão, e Alessandro Conceição, do grupo Pirei na Cenna.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A multiplicação pode se iniciar de forma pontual, dentro do próprio grupo e se ampliar gradualmente através de oficinas e cursos; organização e coordenação de grupos comunitários; produção de espetáculos; mediação de diálogos teatrais; estímulo a ações sociais concretas e continuadas, e produção de sistematização das experiências práticas.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Na atual estrutura do CTO, existem Praticantes do Método atuando como Curinga, como Curinga-Assistente ou como Curinga-Comunitário.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Curinga-Assistente é um/a praticante que assume responsabilidades específicas nas atividades práticas, apesar de ainda não ter autonomia para conduzir o processo de trabalho como um todo. Essa experiência funciona como estágio supervisionado, sendo estratégia de formação.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Curinga-Comunitário é um/a integrante do grupo de TO que se destaca como coordenador interno, que domina o tema específico do espetáculo e tem condições de ministrar exercícios e jogos, de orientar ensaios e de facilitar diálogos teatrais, exercitando o Ato de Curingar no âmbito particular de seu coletivo. Esse trabalho comunitário, a princípio restrito à especificidade do grupo, pode estimular a ampliação desta atuação para outras áreas temáticas. Uma estratégia de formação que garante autonomia aos grupos comunitários.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Curingar significa mediar o diálogo entre palco e platéia nas sessões de Teatro- Fórum e o debate nas sessões de Teatro Legislativo, promover o diálogo em qualquer atividade do Teatro do Oprimido. Curingar significa estimular o espectador a sair da condição de consumidor do produto cultural e a assumir o lugar de produtor de cultura e de conhecimento, o lugar de cidadão: agente de transformação da realidade. O Ato de Curingar, em si, não transforma um Praticante de Teatro do Oprimido em Curinga, mas é exercício essencial para sua formação.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A intensa difusão do Teatro do Oprimido no Brasil provocou a necessidade de se criar programas para a qualificação de seus Praticantes, a fim de garantir o acesso aos fundamentos do Método e o exercício adequado de sua prática. Esses programas foram pedagogicamente estruturados ao longo dos últimos 12 anos, pela equipe do CTO, não para formar Curingas, mas para oferecer uma base sólida a todos e todas que quisessem iniciar a jornada como Praticantes do Método.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Times;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Para exercer a função de Curinga, as atividades de multiplicação são essenciais, por isso o desenvolvimento destas habilidades tem sido o núcleo dos programas de qualificação do CTO, que beneficiam ativistas de grupos culturais, movimentos sociais e instituições sócio-culturais, que utilizam o TO em sua atuação comunitária, para dinamizá-la, diversificá-la e ampliá-la.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Os atuais programas continuados de formação de Praticantes do Método coordenados pelo CTO não se destacam apenas por suas dimensões territoriais – Brasil, Moçambique, Guiné-Bissau, com desdobramentos em Angola e repercussão no Senegal – mas, especialmente, pela inovação e consistência de sua estrutura pedagógica.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Dos cerca de 700 Praticantes de Teatro do Oprimido que foram ou estão em processo de qualificação formados/as pelo CTO, 2006-2010&lt;/span&gt;&lt;/span&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftn3&quot; name=&quot;_ftnref&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;, certamente, muitos despontarão como participantes de uma nova geração de Curingas, influenciada por culturas, identidades, experiências, saberes e personalidades diversas. Uma geração que seguirá o sonho de Boal de que todo mundo possa exercer o direito humano fundamental de fazer teatro e de se expressar através de meios estéticos.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A experiência acumulada nesse processo histórico aponta para a necessidade de se avançar na sistematização de programas para a qualificação de Curingas. Programas que se beneficiem das conquistas alcançadas, busquem a superação das insuficiências identificadas e avancem nas estratégias de acompanhamento dos projetos desenvolvidos pelos formandos e de estímulo à atuação em rede, à produção teórica e à comunicação internacional.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;O Teatro do Oprimido ainda não completou quatro décadas de existência, mesmo assim, está presente nos cinco continentes, sendo utilizado por centenas de praticantes, beneficiando milhares de pessoas. As práticas são diversas, em dimensões, áreas de atuação, estilos, metas e resultados.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;A impressionante difusão do Método cria a necessidade de fortalecimento dos fundamentos e princípios básicos da Árvore do Teatro do Oprimido e a sistematização de sua estrutura pedagógica, a fim de garantir sua autenticidade, seja lá onde estiver sendo aplicado.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Helvetica;color:black;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Sendo Curinga ou estando em processo, Praticantes de Teatro do Oprimido devem se comprometer com a essência humanista, pedagógica e democrática do Método. A ética e a solidariedade como fundamentos e guias. A multiplicação e a organização como estratégias. A promoção de ações sociais continuadas e concretas, para a transformação de realidades opressivas, como meta.&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;div style=&quot;mso-element:footnote-list&quot;&gt;  &lt;hr align=&quot;left&quot; size=&quot;1&quot; width=&quot;33%&quot; style=&quot;text-align: justify;&quot;&gt;    &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoFootnoteText&quot; style=&quot;text-align: justify;&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftnref&quot; name=&quot;_ftn1&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[1]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Poeta espanhol.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;div id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoNormal&quot; style=&quot;text-align:justify;mso-pagination:none;tab-stops: 28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 252.0pt 280.0pt 308.0pt 336.0pt; mso-layout-grid-align:none;text-autospace:none&quot;&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftnref&quot; name=&quot;_ftn2&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[2]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Av. Mem de Sá, 31 – Lapa – RJ / RJ - Brasil CEP: 20.230-150 &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:blue;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;www.cto.com.br &lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;55 21 2232-5826&lt;/span&gt;&lt;/span&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;  &lt;p class=&quot;MsoFootnoteText&quot; style=&quot;text-align: justify;&quot;&gt;&lt;o:p&gt;&lt;a href=&quot;http://www.blogger.com/post-edit.g?blogID=3626548703768687465&amp;amp;postID=3831208114051856587#_ftnref&quot; name=&quot;_ftn3&quot; title=&quot;&quot;&gt;&lt;span class=&quot;MsoFootnoteReference&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;[3]&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/a&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt; &lt;/span&gt;&lt;/span&gt;&lt;span lang=&quot;EN-US&quot;   style=&quot;font-family:Arial;color:black;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt;&lt;span class=&quot;Apple-style-span&quot; style=&quot;font-style: normal;&quot;&gt;Os projetos desenvolvidos neste período contaram com o suporte do governo federal, através do Ministério da Educação, do Ministério da Saúde e do Ministério da Cultura, este último o maior parceito atual da instituição.&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/o:p&gt;&lt;/p&gt;&lt;/div&gt;&lt;div style=&quot;mso-element:footnote&quot; id=&quot;ftn&quot;&gt;  &lt;p class=&quot;MsoFootnoteText&quot; style=&quot;text-align: justify;&quot;&gt;&lt;o:p&gt;&lt;span class=&quot;Apple-style-span&quot;  style=&quot;font-size:small;&quot;&gt; &lt;/span&gt;&lt;/o:p&gt;&lt;/p&gt;  &lt;/div&gt;  &lt;/div&gt;  &lt;!--EndFragment--&gt;   &lt;/i&gt;&lt;/span&gt;&lt;p&gt;&lt;/p&gt;&lt;div style=&quot;mso-element:footnote-list&quot;&gt;&lt;div style=&quot;mso-element:footnote&quot; id=&quot;ftn&quot;&gt;  &lt;/div&gt;  &lt;/div&gt;  &lt;!--EndFragment--&gt;</content><link rel='replies' type='application/atom+xml' href='http://kuringa-barbarasantos.blogspot.com/feeds/3831208114051856587/comments/default' title='Post Comments'/><link rel='replies' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/arte-de-curingar.html#comment-form' title='4 Comments'/><link rel='edit' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/3831208114051856587'/><link rel='self' type='application/atom+xml' href='http://www.blogger.com/feeds/3626548703768687465/posts/default/3831208114051856587'/><link rel='alternate' type='text/html' href='http://kuringa-barbarasantos.blogspot.com/2010/08/arte-de-curingar.html' title='A Arte de Curingar (Português)'/><author><name>BÁRBARA SANTOS</name><uri>http://www.blogger.com/profile/12533361467935773108</uri><email>noreply@blogger.com</email><gd:image rel='http://schemas.google.com/g/2005#thumbnail' width='16' height='16' src='https://img1.blogblog.com/img/b16-rounded.gif'/></author><thr:total>4</thr:total></entry></feed>

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