In 2020, due the corona crisis and its consequences, the KURINGA Qualification Programme will be divided in an online part and a practical part / play production part. For details please continue to read here: Course I
KURINGA Theatre of the Oppressed Qualification Programme is designed by Bárbara Santos, who was colleague of Augusto Boal in Brazil for two decades as general coordinator of the Centre of Theatre of the Oppressed (CTO) working in the design, implementation, coordination, supervision and evaluation of training programs in several countries and as a collaborator in artistic productions, as well as in the investigation, conception and development of Legislative Theatre and Aesthetics of the Oppressed. The Programme in Berlin is implemented in collaboration with Christoph Leucht and Till Baumann.
The KURINGA Qualification Programme combines the theoretical deepening with practical experiences, contributing to the consistent development of the praxis of the method. This initiative aims to produce a base for a consistent and reliable curriculum for permanent qualification courses in the Method of Theatre of the Oppressed and to stimulate the groundwork for the transformation of reality through formation of and exchange between TO community groups.
Knowledge and experience are developed through collective artistic productions, which are a practical application of the theoretical concepts, and can become a reference for the multiplication process. The programme is composed by two 12-day course periods complemented by seminars, theatrical laboratories and artistic production during the KURINGA Forum Theatre Festival. The KURINGA Qualification Programme and the Festival contribute to create networks of solidarity and exchange, where TO community groups and practitioners can work together for a transformation of the reality.
2013 – Group A
2014 – Group B
2015 – Group C
2016 – Group D
2017 – Group E
2017 – Group F
2018 – Group G
2018 – Group H
2019 – Group J
2019 – Group K
2020 – Group L
BOAL, Augusto. The Rainbow of Desire: The Boal Method of Theatre and Therapy. London and New York, Routledge, 1995.
___. Legislative Theatre. London, (also USA and Canada), Routledge, 1998.
___. Hamlet and the Baker’s Son. London, (also USA and Canada), Routledge, 2001.
___. Games for Actors and non-actors. London, (also USA and Canada) Second Edition. Routledge, 2002.
___. The Aesthetics of the Oppressed, London (also USA and Canada), Routledge, 2006.
SANTOS, Bárbara. Identity in Diversity. Scripting Power: Jana Sanskriti On and Offstage. Edited by Dia Da Costa. Kolkata, CAMP, 2010, pp. 159–170.
___. Percursos Estéticos – abordagens originais sobre o Teatro do Oprimido. São Paulo, padê editorial, 2018.
___. Theatre of the Oppressed ROOTS & WINGS a theory of praxis. Los Angeles – USA, KURINGA in conjunction with UCLA Art & Global Health Center and UCLA Prison Education Program, 2019
___. Teatro das Oprimidas – estéticas feministas para poéticas políticas. Rio de Janeiro, Casa Philos Editora, 2019.