Invisible theater and guerrilla theater are two forms of street theater with similar origins but very different approaches. Both forms take place exclusively in public places, but invisible theater conceals its performative nature whereas guerrilla theater flaunts it. While invisible theater creates a performance space unbeknownst to its audience, guerrilla theater actively seeks the attention of an audience by explicitly imposing a performance space onto a public place.

Starting in the early 1970’s, Augusto Boal and fellow actors have staged scenes regarding social issues in public or semi-public places (e.g., restaurants), crafting their dialog and action to get a verbal reaction from bystanders. Because performers and non-performers remain distinct, invisible theater returns somewhat to the model set up by traditional theater. However, there are a few key differences. The performance space is created in public places without the awareness of non-performers.For non-performers, being beyond the performative space allows them to avoid the etiquette of theatergoing and removes that “lens” that unavoidably emerges when we feel we are viewing art or performance. If people do not suspect that they are viewing art, however, they are free to engage with the action and concepts of an unfolding drama as if these actions and concepts were real.

Boal has documented various successful instances of invisible theater in which non-performers actively listen, participate in public-spirited discussion, and even take unplanned public-minded action in response to the dialogue and events set up by invisible theater performers. Because onlookers think they are witnessing real life events, because the performers are bold in their statements, because the scripted characters are very vocal about what they are doing and experiencing, invisible theater is able to instigate political conversation within an everyday context; it successfully creates public forums out of thin air.

Guerrilla theater creates surprise performances in public, but is driven by the forceful imposition of “traditional” (if we can call anything about guerrilla theater “traditional”) theater. One example includes two professors of Galway’s University College who dressed in their robes and went out to the street, questioning pedestrians and awarding diplomas to the ones least able to provide good answers, as a way to protest their university’s decision to grant Ronald Reagan an honorary doctorate in law.

A large part of the goal of guerrilla theater is to get publicized, its message echoed over and over in our ever-expanding network of technology interface mass media. Guerrilla theater knows it may antagonize its direct audience—it often hopes to, because conflict is more likely to be broadcast, and the goal of guerrilla theater is to get people talking publicly.

Consider each of the answer choices separately and indicate all that apply.

Which of the following can be inferred from the passage?

• When people are unaware that they are viewing a performance, they tend to act more naturally.
• Invisible theater is best described as improvisational.
• One measure of the success of a theatrical performance can be the actions taken by the audience oncethe performance is over.

The main point of the passage could best be described as

(A) a discussion of two different but aligned artistic currents
(B) an examination of which of two art forms is more effective at prompting political action
(C) a synopsis of the evolution of theater
(D) a presentation of two theatrical concepts that conceal their performative nature
(E) an overview of artistic life in public places



Consider each of the answer choices separately and indicate all that apply.

Which of the following is true of both invisible theater and guerrilla theater?

• both have a goal of encouraging discourse
  
• both impose performance space onto public location
  
• both antagonize their audience

The passage implies that the Galway professors believed which of the following?

(A) Guerrilla theater was superior to invisible theater.
(B) Protesting an honor could result in the revocation of the award.
(C) Granting Ronald Reagan a degree demeaned the intellectual standard of the university.
(D) Handing out diplomas was a legal activity.
(E) Ronald Reagan’s foreign policy had deleterious effects.



Consider each of the answer choices separately and indicate all that apply.

Which of the following, if true, would undermine the principle of invisible theater?

• When people knowingly view art, their heightened attention increases their perception and involvement.
  
• Audience members watch a performance and later report to others what happened, still not knowing that the event was a theater piece.
  
• A lively debate about public issues is brought to a halt by the imposition of scripted characters inserting theatrical dialogue.