PHASE 1: PREPARATION OF THE INTERVENTION
In the various projects analyzed, this phase was developed in markedly different ways, varying in terms of duration, scope, complexity, and the number of groups involved.
MOTIVATION FOR THE LEGISLATIVE THEATRE (LT) PATH
In the landmark case of CTO Rio and Augusto Boal (Brazil), the project emerged from his unexpected election to the City Council of Rio de Janeiro. This prompted a fundamental question: how could theatre be meaningfully integrated into institutional and political responsibilities? The result was the creation of his “Political-Theatrical Mandate,” blending legislative engagement with participatory performance.
“Easy Way Out” continued Pokaz’s long-standing line of work with the Roma community, focusing on the systemic discrimination and racist violence the Roma community has historically faced and continues to endure. It was accompanied by an awareness raising campaign about racism and segregation in Croatian schools, called “Quality School For All”. POKAZ’s collaborator Siniša Senad Musić is a veteran Roma community activist, whose knowledge and experience have been key in developing and carrying out the play and campaign.
Also in Austria, “Affordable Housing”, a project that emerged directly from a community’s desire to address the growing inaccessibility of housing.
In another Austrian initiative, “Playing Together”, the process originated from a conflict between young people and local residents over the use of a public park, highlighting tensions around shared urban spaces.
In “Status Quo in the Labor Market”, the starting point was the motivation of a group of young people confronting precarious employment conditions. Metka Bahlen Okoli and Barbara Polajnar were working with these youth, who were, and still are, pushed into increasingly unstable forms of labor.
“Gender Equity Rules: Creating an Equal Society for All” originated within a broader movement aimed at opening public debate on gender-based violence and promoting gender equity. The project reflected a continuous effort to tackle deep-rooted social issues through education, legislative action, and public discourse.
In the United States, Katy Rubin and an LGBT+ association launched “Can’t Get Right” in response to the introduction of a municipal ID card in New York City. They seized the opportunity to open a dialogue around gender identity and inclusive policies.
The British project “Drama for Democracy – A Bold Experiment in Legislative Theater” began from the shared frustration of three associations of oppressed groups. These organizations, already working in a network, expressed their disillusionment with the political system, where their voices were consistently ignored by decision-makers.
In Portugal, José Soeiro developed “Students by Loans – Estudantes por Empréstimo” after being elected to Parliament. The project was driven by the government’s decision to convert student scholarships into personal loans, sparking concern over the privatization of education.
“Caring Every Day” was promoted by Laboratórios de Teatro e Política (Laboratory of Theatre and Politics), which included several members from the original “Students by Loans” project. Building on the success of that initiative, the new project focused on recognizing and securing social protection for care work, often performed without compensation or legal recognition.
In Austria, “Take Part: It’s About Us” was launched at the invitation of the regional Minister. The goal was to rewrite disability legislation using the methods of Theatre of the Oppressed, an approach the Minister already appreciated through her own background as an actress.
Some have approached Legislative Theatre by first analyzing the political and legal context, reflecting on what was already happening in the territory in question. These individuals then joined an ongoing discussion or campaign by initiating an LT process.
- This was the case for the “Drama for Democracy” project, who took advantage of the ongoing debate around the reform of care services, shifting the focus from providing benefits to services oriented toward the individual. The LT project became part of this movement, transforming what could have remained abstract ideas into concrete action. It began with a three-month research phase focused on the state of social services in Edinburgh.
- In the “Playing Together” project, InterAct responded to a request for intervention to resolve a conflict between young people and residents over the use of a public park. They initiated extensive research, conducting meetings and interviews with various stakeholders who used the park.
- “Caring Every Day” project was directly linked to the ongoing “Right to Care, Care with Rights” campaign, promoted by a coalition of twelve grassroots associations. The project built upon this established movement, aiming to address the social protection of care work.
- “Status Quo in the Labor Market” emerged from real cases of labor exploitation. Upon discovering that these were not isolated incidents but part of a widespread pattern affecting many young workers, the project shifted its focus from Forum Theatre to LT, delving into the relevant labor laws and worker rights.
- “Gender Equity Rules: Creating an Equal Society for All”, on the other hand, began as an LT project. It focused on the outrageously low sentences for gender-based violence, particularly sexual violence, in Slovenia and Croatia. As part of their research, the project team used the creation of podcasts to explore the systemic, historical, and legislative factors underlying gender-based violence.
Many trainers have underlined the importance of preparatory research, usually conducted in a top-down way. Katy Rubin recommends carrying out participatory research in contrast to an academic research approach with low involvement of target groups. Rubin’s approach appears to us more consistent with the principles of TO as the oppressed are meaningfully involved from the beginning, also in the planning, identifying the core oppression and monitoring progress.
Recruiting participants is another crucial step: it’s essential to know how to contact the right people and how to engage and motivate them. In these experiences, some projects started with already organized groups, which made the process easier. Others began by engaging people through activities in contested public spaces, while some used a regular mini tour with short meetings, where participants were introduced to theatrical exercises and provided with information about the project. Identifying the right people to contact is a key element in the Theatre of the Oppressed, and this holds true for the Legislative Theatre process as well.
Some possibilities.
- Augusto Boal sent his “comodin” (Brazilian Jokers) to interact with communities of various kinds that they called Nuclei (territorial, thematic and mixed, depending on what they have in common) and from there the paths that create a constant two-way flow of information and proposals begin.
- In other projects the groups were associations of people who were already organized and active (i.e. the associations of disabled people in Austria or the feminist TO group Magdalene Krivopete active within CAA Transformator in Slovenia), others were not groups but isolated individuals, as in some Austrian experiences, or even informal groups (young people who use the park in Austria).
- To reach individuals not already part of a formalized group, some projects create informal events (for example InterAct on the topic of housing) or rely on collaborations with partner organizations.
- In “Take Part: It’s About Us”, they organized a tour in their region, offering small local workshops to introduce the theme and the theatrical methods of the project. These sessions included simple exercises designed to build mutual trust, allowing participants to gradually ease into the process. During the same meetings, participants were introduced to techniques for exploring moments in their lives where people with disabilities and their loved ones could identify areas they wished to change.
- “Goods. Housing. Human Rights”, on the other hand, opted to launch a kick-off event where InterAct invited representatives from various stakeholders: municipal officials, NGOs, people with experience of precarious housing, and housing experts. Each participant shared their perspective on the issue of housing, after which the group discussed the key issues they wanted to address through the project. Politicians were present, not to give speeches, but to actively engage in the shared reflection.
- Another example is the Legislative Theatre case of “Status Quo in the Labor Market”, which emerged from a Theatre of the Oppressed group at Zavod Bob. The group, primarily made up of young people, highlighted the widespread issue of job precariousness. They shared how these precarious work conditions not only affected their financial stability but also influenced their mental and physical health, personal relationships, access to housing, social participation, long-term planning, and their ability to organize for better working conditions.
- In “Playing together” early rehearsals were held indoors, then the group suggested it would be helpful to rehearse in the park, so some of the rehearsals took place directly in the park. It attracted the attention of children, young people, and even adults passing by. These rehearsals became a form of intervention, sparking interest among the community. Sometimes, people even made comments or gave feedback; local opinions and involvement grew as a result of the performances. These moments became part of the process and contributed to the development of the project.
- The creators of “Easy Way Out” are a group of Roma youth from Croatia who previously have been working with POKAZ for a few years, becoming acquainted with the tools and techniques of TO. All of them have experienced racism, discrimination and segregation in their life, work, and, central to this play, education. Through the making of “Easy Way Out”, Siniša Senad Musić, a veteran Roma rights activist with a background in theatre, became one of the Jokers (facilitators) of the play; Rosa Oršuš, who had no prior experience in theatre, also played this role on several occasions.
Types of groups involved.
The types of groups involved varied from homeless people (Graz) to disabled people (Styria) from LGBTQIA+ individuals (New York) to individuals facing housing challenges, including those with low incomes, migrants, or those experiencing precarious housing situations (Graz), young people (Graz), university and high school students (Portugal), youth, students, and educators in educational institutions (Slovenia and Croatia), Roma people (Croatia), young people aged 15 to 29 who are employed in precarious conditions (Slovenia) and more.
Suggestions for involving the oppressed.
- InterAct emphasizes the importance of flexibility, advising that a strategy be developed to engage participants effectively. They suggest offering informal opportunities for interaction and ensuring some form of compensation for the time participants dedicate to the project, whether through monetary payment, vouchers for shopping, or other benefits.
- SpectAct recommends providing support when needed, such as arranging transportation for people with disabilities, to ensure full participation.
- The Zavod Bob team focused on enhancing accessibility and building relationships to foster trust, especially given the participants’ previous negative experiences with institutions. A key insight from their approach was the importance of allowing ample time for participants to feel comfortable and share their experiences. They also used creative tools from the Theatre of the Oppressed to help express feelings and experiences that were difficult to verbalize. Furthermore, they highlighted the need to strike a balance between structure and flexibility to accommodate various forms of participation.
- The CAA Transformator and Pokaz team suggests securing emotional and professional support for participants – addressing sensitive themes like gender inequality and violence requires safe environments and facilitators equipped to manage emotional responses and group dynamics. Apart from this to ensure genuine participant involvement, success depended on everybody involved being co-creators, shaping the process and content throughout the project.
- Pokaz also highlights the importance of dealing with the participants as fellow human beings, instead of project material – which is, unfortunately, how professional activists often view the Roma community
Where a starting point was not already established, many projects dedicated significant time to building alliances and engaging essential resources, both on the technical-professional side and for ensuring greater impact. The following groups were often contacted:
- Activists, movements, and organizations capable of continuing the action after the project ends, monitoring decisions, and applying sustained pressure—especially NGOs specializing in advocacy. For example, in the “Gender Equity Rules: Creating an Equal Society for All” project, CAA Transformator and their main partner Pokaz, along with other partners, focused on mobilizing students, professors, social workers, cultural workers, and feminist activists. They built a network of engaged individuals who could drive change in their respective fields.
- Lawyers, bureaucrats, legal experts, and institutional contacts to support the legal-administrative aspects. The administrative processes must be carefully selected, as they can either facilitate or hinder the implementation of the proposals.
- Politicians and decision-makers at various levels. Early involvement increases the likelihood that they will take ownership of the Legislative Theatre outcomes. It is crucial to choose the right individuals, those who take the issue seriously and are committed to long-term action. Involving them requires making them understand that the problem is not isolated, but affects many people. While some pressure may be necessary, it is equally important to offer them the opportunity to see the broader context and grasp the urgency of action. “Easy Way Out”, for example, was accompanied by an awareness raising campaign about discrimination in Croatian education, which included a public discussion with several politicians and local decision-makers.
- Stakeholders with a vested interest in the topic or those who can influence decisions. For example, in “Take Part: It’s About Us”, all entities dealing with disability were engaged: disability associations, social service providers, reception centers, job placement organizations, and large organizations such as Caritas, as well as activists for the rights of people with disabilities. This network ensured both collaboration in the process and a better understanding of the needs of people with disabilities. It’s crucial not only to involve politicians but also influential figures in civil society, such as activists and community leaders. Similarly, in the “Playing Together” project, stakeholders included those in conflict over use of the park, regular park users, school representatives, regional and district politicians, the police, youth centers, the office for minors’ rights, as well as those who spent time observing the park’s relational dynamics.
- The media: journalists, bloggers, and social media and communication experts should not be overlooked. They play a key role in publicizing the project and supporting the in-person work with online activities. In “Gender Equity Rules: Creating an Equal Society for All”, Radio Marš, a local radio station, partnered with the project to amplify discussions about gender-based violence in public spaces. An online social media campaign was also launched to further raise awareness.
- Other theatre groups, collaborate in organizing Legislative Theatre sessions, as was the case in “Drama for Democracy” project, where they worked in collaboration with other Scottish theater companies, like Civic Digits, who specialize in digital theater, so that they began experimenting with the role of technology in making their work more accessible.
- Universities and unions, particularly in areas like labor rights. In the “Status Quo in the Labor Market” project, labor rights organizations and trade unions were critical allies. They contributed legal expertise, supported legislative proposals, and provided practical assistance to workers facing exploitation.
According to Armin Staffler, the main challenges of this action are:
- Convincing politicians who are not involved in the project. His suggestions include involving politicians from the beginning, rather than presenting them with a finished product, which often does not achieve the desired results.
- Transforming the skepticism of stakeholders (in his case disability associations, advocacy organizations, etc.) so that the process is taken seriously by the political world and leads to tangible outcomes.
- Changing the widespread notion that theatre is frivolous and not particularly useful for legislative change.
José Soeiro’s suggestions for this phase are:
- Establishing a network of allies from the start of the process.
- Framing the theatrical demand within the broader social and political context.
- Involving experts and specialists to provide suggestions, but not allowing technicians to dominate the issues and processes.
Tjaša Kosar and Doria Jukić suggest that, to achieve systemic change, it is necessary to:
- Integrate grassroots activism with structured lobbying work and close collaboration with the media.
- Create strong coalitions that can have a real impact on politics.
- Use creative and participatory methods to engage people, as Legislative Theatre has been effective in encouraging reflection and dialogue among youth and educators, helping them explore complex issues in an accessible and empowering way.
- Build cooperation with political researchers, advocacy groups, and media outlets to enhance credibility and outreach.
- The experience with Croatian partner POKAZ demonstrated the importance of flexibility and responsiveness to political or bureaucratic resistance and adapting to different local and institutional contexts.
- Plan for long-term impact beyond the project’s duration, while the initiative developed meaningful proposals, it recognized the need for a more strategic and coordinated approach to advocacy that extends beyond awareness-raising.
For Michael Wrentschur, when the project concerns a theme that cuts across various groups, such as in “Goods. Housing. Human Rights”, it is important to involve stakeholders of different kinds who work on the same theme but from different perspectives, with different services and concerns.
Moreover it is important to identify the Core Issues: to start “Playing Together” , they gathered the initial information about the conflicts and began speaking with various individuals and groups. Each brought a different perspective on what was happening in the park and how it could be used or improved. This process of dialogue formed the foundation of their work.
Josipa Lulić highlights the importance of involving a wide network of allies, as was done in “Easy Way Out”, and the associated campaign. However, one has to be careful in helping maintain space for members of the oppressed community to speak for themselves and express themselves, instead of being spoken for (even by well-intentioned allies).
Metka Bahlen Okoli identifies several challenges. One was the difficulty in aligning all allies into a coherent, long-term advocacy strategy. While the educational and awareness-raising components worked well, the initiative struggled to maintain sustained lobbying and policy change. Another issue was ensuring that all partners remained engaged throughout the process. She suggests investing time in building trust among partners and maintaining continuous communication. Roles and contributions should be adaptable to shifting contexts or resources, with particular emphasis on balancing formal expertise with grassroots knowledge, especially by centering the voices of the oppressed at every stage of the process.
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