Prospero's development as a man over the course of The Tempest is his growing sense of his own limitations and the need to harness his power symbolized, once again, by his magical abilities at appropriate moments. He has everything under his control on the island thanks to his magic, but Miranda is becoming a grown woman at fifteen, SUMMARY. Political theater, like any form of political action, can only be judged in relation to the political moment in which it attempts to intervene. The Theater of the Oppressed TO was created to fight against dictatorship and an extremely centralized conception of politics. How does this work now, in the age of social media and so-called? The Theater of the Oppressed is a theatrical form oriented towards liberation. oppressive beliefs and situations. To, as it is sometimes abbreviated, addresses. social, political and. Abstract. In this article, the author reports on the use of the Theater of the Oppressed in a long-term critical ethnography. Drawing on the work of performative ethnographers, she reviews the literature on the uses of theater in qualitative research and explores traditional lines of inquiry that become blurred in the process. Last winter at Ryerson University's Studio Theater in downtown Toronto, Canadian actor Antoine Yared played Caliban in The Tempest. He stood in the center of the stage, looking out at the audience as he. Additionally, you can learn more about Pedagogy of the Oppressed and Theater of the Oppressed at www.ptoweb.org. Note on language: We are publishing this call for proposals in English, Spanish and Portuguese. We have the ability to read and respond to proposals in these languages and presenters to deliver sessions in all three. Recent studies have begun to examine the relationship between Caliban and Prospero through the lens of postcolonialism, leading to a discourse that explores this relationship as analogous. with that of the colonized and the colonizers. This argument aligns Shakespeare's work within the context of history, directly applying it to real events. Widely used in theater performance programs, it also has innovative application for social work courses. This article points to Boal's four stages in his poetics of the oppressed and concomitant theater techniques as valuable resources for the BSW social work educator.