Las teorias dramaticas de Augusto Boal
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Existe una opinión generalizada en considerar que para Augusto Boal su labor más importante fue en el campo de las formulaciones de sus ideas sobre el teatro, lo cual lo llevó a desarrollar una intensa experimentación, que al ser sintetizadas por él mismo se constituyó en un verdadero corpus de su pensamiento que conforman lo que se denomina su teoría dramática. En el Arena experimentó con nuevas técnicas de tratamiento del texto dramático, con nuevas proposiciones de montajes, culminando con ideas que cuestionaron las propias convenciones del teatro tradicional, que Boal consideró anacrónicas, cargadas con la ideología de las elites del poder, y que se propuso transformar para crear un nuevo teatro liberado de estas convenciones y profundamente participativo de su audiencia como lo muestra este libro
LUIS CHESNEY LAWRENCE (B.Sci., B.A., M. Phil. y Ph. D.). Dramaturgo, Profesor titular en las Universidades de Southampton (Inglaterra), Mainz (Alemania), Alcalá de Henares (España) y de Antioquia (Colombia). Colaborador del Dictionary of Literary Biography (USA, Columbia, 2001), de la Enciclopedia del Teatro de Universidad de Oxford (UK, 2003), de la Antología del Teatro Latinoamericano de Universidad de California (2004) y Experto del Programa Albán (Unión Europea, 2003-2007). Su obra ha obtenido los premios: Hispanoamericano de Teatro (España, 1981), del Nuevo Grupo (Caracas, 1982), Juana Sujo (Venezuela, 1989), Casa de las Américas (Cuba, 1991), Santiago Magariños, (Venezuela, 1988 y 1992) y Premio Nacional del Libre (2009). Su obra Niu-York, Niu-York, fue invitada especial al VIII Festival Internacional de Caracas ((1990), y Encuentro en Caracas, fue estrenada en Alemania, (Mainz, 1997). La crítica teatral venezolana lo ha considerado como uno de los dramaturgos relevantes de la década de los ochenta.
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