G11 came to the aid of Grade 3 teachers today. Teachers wanted a provocation for their PYP unit on Peace and Conflict – a performed argument which would generate conversation and debate in the students who happened upon the piece of ‘invisible theatre’. The experience, and subsequent reading on Boal’s Invisible Theatre pieces in his book ‘Games for Actors and Non Actors’, began an interesting debate – how much can we rely on improvisation in Invisible Theatre? Boal’s position is – not a lot. He writes about the importance of working to a tight structure and carefully crafted script particularly when describing the piece for the Paris Metro. Is it responsible to go into a situation without careful planning and script writing? When do we know when to move away from the script and respond to our audience ‘off script’? Is the safety of actors and audience always carefully considered? Is the stuff we see in some of TV shows seen below examples of invisible theatre? I would like to argue that they are not – mainly because of their over reliance on improvisation, this means they no longer follow the conventions set out for the style of work Boal named ‘Invisible Theatre’.
About La (Paula) Mor
La (Paula) Mór is a theatre teacher and director. She has taught and directed in the UK and internationally for 20+ years, both at Secondary and University level. La is currently working on Jeju Island in South Korea at Branksome Hall Asia where she develops original, contemporary theatre with her students and continues research into the applications of the Viewpoints in Theatre Education. La has been trained in Anne Bogart's 9 Viewpoints by SITI Theatre Company and Zen Zen Zo and delivers international Viewpoints training to young people, undergraduates, performers and lecturers. Academic background: BA(Hons) Bristol University; PGCE Leeds University; MA Applied Theatre, Central School of Speech and Drama.