Starting in the early 1970s, 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, this so-called "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 nonperformers. 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 achieves its goal of creating public forums out of thin air.

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

Which of the following can be inferred from the passage?

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



The main point of the passage could best be described as

(A) a presentation of a theatrical concept that conceals its performative nature
(B) a critique of an art form's ability to prompt political action
(C) a synopsis of the evolution of theater
(D) a paean celebrating Boal's contributions to theater
(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, if true, would undermine the principle of invisible theater?

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