Editing Augusto Boal (section)

===''The Rainbow of Desire: The Boal Method of Theatre and Therapy''. (London: Routledge, 1995)===
This book re-evaluates the practices commonly associated with the Theatre of the Oppressed for a new purpose. It has been argued that Boal contradicts himself with this take on his work,<ref name="Boal, Augusto 1995">Boal, Augusto (1995). ''The Rainbow of Desire: the Boal Method of Theatre and Therapy''. London: Routledge.</ref> as it mostly concerns itself with creating harmony within society, whereas his early work was concerned with rebellion and upheaval. Boal states that, "Theatre is the passionate combat of two human beings on a platform."<ref name="Boal, Augusto 1995"/> However, Boal's works can be seen as a progression and exploration of a [[Left Wing]] world view rather than a unified theory. In the context of those under-represented in a society, his methodology can be used as a weapon against oppressors. In the context of those in a society who are in need of [[catharsis]] for the sake of their own integration into it, it can be switched round to empower that individual to break down internal oppressions that separate that individual from society.
Through his work at French institutions for the mentally ill and elsewhere in Europe, where he discovered concepts such as the "Cop in the Head", the theories presented in this book have been useful in the pioneering field of drama therapy and have been applied by drama practitioners.
Boal states in his work that there are three properties of the aesthetic space. First, is plasticity. He says that one can be without being. Objects can acquire different meaning such as an old chair representing a king's throne. He states that only duration counts and location can be changed. Second, is that the aesthetic space is dichotomic and it creates dichotomy. This idea suggests that there is a space within a space. The stage is in front of the audience and the actor is creating his own space. Third, is telemicroscopic. This idea creates the idea that it is impossible to hide on stage. Every aspect of the space is seen and it makes the far away close-up.<ref name="Boal, Augusto 1995"/>