ABOUT THIS PROJECT
This is a small project done as part of my research into the works of Augusto Boal. Namely, Rainbow of Desire, which flows directly from Theatre of the Oppressed. In the former, he defines theatre as “the passionate combat of two human beings on a platform.” At least two beings are required as theatre is a reflection of social dynamics, which do not occur in isolation. Further, he argues that a monologue will not be theatre unless there is an implied antagonist. This is what got me thinking. The object of the poster is commonly used to convey information, yet it remains a fairly static mode of communication — a monologue. How can a poster become a dialogue? How can we integrate into it the two beings, the passion and the platform?
As for the platform, Boal describes it merely as the separation between actor and spectator, with the merger of these two spaces being that which what he calls the aesthetic space, which gives the poster its title. This blurring of boundaries inspires both the object itself and some of the graphic language. The poster was printed, framed, and hung with a marker attached to it so that people could scribble and add their own thoughts to it. In essence, to create a collaborative dialogue. Moreover, the primary background is precisely, an image of blurred boundaries — the aesthetic space, if you will. As is the intermingling of the elements that compose the title, a dialogue between words, fonts, layers and styles.
The passion element made me wonder whether the political poster can be said to imply an antagonist, thus transcending monologue. Indeed, Boal describes passion as something which attaches itself to feelings, moral and political choices. This is why the typefaces in use are all open source and obtained from feminist and queer collectives.
Finally, the foreground, as a representation of Rainbow of Desire, is framed, both literally and metaphorically, by an allusion to Theatre of the Oppressed with a blurred rainbow gradient as a background — an allusion to both the book and the political intent of queer liberation.
As for the platform, Boal describes it merely as the separation between actor and spectator, with the merger of these two spaces being that which what he calls the aesthetic space, which gives the poster its title. This blurring of boundaries inspires both the object itself and some of the graphic language. The poster was printed, framed, and hung with a marker attached to it so that people could scribble and add their own thoughts to it. In essence, to create a collaborative dialogue. Moreover, the primary background is precisely, an image of blurred boundaries — the aesthetic space, if you will. As is the intermingling of the elements that compose the title, a dialogue between words, fonts, layers and styles.
The passion element made me wonder whether the political poster can be said to imply an antagonist, thus transcending monologue. Indeed, Boal describes passion as something which attaches itself to feelings, moral and political choices. This is why the typefaces in use are all open source and obtained from feminist and queer collectives.
Finally, the foreground, as a representation of Rainbow of Desire, is framed, both literally and metaphorically, by an allusion to Theatre of the Oppressed with a blurred rainbow gradient as a background — an allusion to both the book and the political intent of queer liberation.