Please read the follow play and answer the questions in Spanish level 4000.

Diana Taylor caracteriza estas 3 obras breves como representaciones de las perspectivas de “la víctima (La maestra), el victimizador (La tortura), y el coloborador (La autopsia)”. Considera alguna pregunta que D.TAylor plantea en su introducción [las que distribuí la semana pasada — copiadas abajo] para comentar si creen que las obras de Buenaventura nos ayudan a responder. Por ejemplo, pueden responder a la primera pregunta: si las audiencias van a poder manejar mejor su experiencia con la violencia en su pais al ver estos 3 actos, o si van a percibir una legitimación del poder en ellos? Como siempre, hay mucha libertad para contestar con una reacción general a la tarea, pero ofrezco este “prompt” más específico como manera de buscar conexiones explícitas entre las obras y la literatura crítica. Suerte!

(p. 11) PREGUNTAS en la intro, para la clase [all quotes]:

1. Does theatre help audiences deal with their situation, as such practitioners as Brecht and Boal maintain? Or, on the contrary, does it somehow legitimate domination by the repetitive use of images of power?

1. Does theatre allow us an entry into the meaning and significance of violent acts….[leading to a comprehension of] the reality of suffering [so that we ] could and would put an end to it?

1. Does “watching” control violence? Or is watching also its own kind of violence, as attested by voyeurism and… political policing [like Foucault’s Panopticon where one always feels spied on by authority?_

1. Does theater make suffering seem trivial and pain entertaining by aestheticizing violence and fueling or desire to see the obscene (literally, the off-scene) or the hidden, that which is normally beyond our vision?

1. Does theatre goad its audiences to greater political involvement, as some governments fear? Or does sit incapacitate its audiences by riveting our attention to an image, by involving us emotionally to such a degree that we will accept hierarchies and victimization uncritically? Theater, after all, “splits” emotions from actions, allowing us as spectators to witness suffering, to participate emotionally set sit rooted in our seats.

1. (p. 17) Can [as Boal theorizes] can theater train “the audience to change its role in the oppressed/oppressor relationship?

1. (p. 21) If theater [performed as “multivocal and multiperspectival”] is an “arena for ideological confrontation and struggle”: What results will occur among audiences viewing those confrontations/struggles during a time of being (55) “caught in the middle of…social transformation” that leaves people with “feelings of decomposition and despair”?

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