Todo arte es Revolución: Actuación Global y Cambio Social

All Art is Revolution: Global Performance and Social Change

Toda Arte e Revolução: Atuação Global e Mudança Social

  • Jessica Litwak Socially Engaged Theatre

El teatro puede ser un medio de transformación tanto personal como social. Este artículo examina la teoría y describe las prácticas necesarias para articular la confluencia de diversos aspectos del arte como activismo. Esta aplicación específica del arte como agente de cambio, trae consigo la combinación de herramientas terapéuticas de sanación, preceptos de activismo, teorías de la escolaridad, y técnicas de artes escénicas. El teatro es una práctica activa que permite la investigación y la profundización, siempre que mantiene un nivel de excelencia a través de su búsqueda estética. Fusionando las fuerzas del arte y del activismo, de la formalización académica y el efecto terapéutico del arte, este ensayo intenta una aproximación al teatro -tanto local como global- que se asume como agente de transformación y tiene un compromiso con el cambio social. A través del examen de los linderos, los riesgos y los dilemas en el campo del teatro socialmente comprometido, el escrito intenta hacer un escrutinio de las mejores prácticas posibles para consolidar un arte teatral que opere como un agente de cambio positivo y útil.

Palabras clave

 arte, construcción de paz, cambio social, teatro como medio

Palabras clave: arte, construcción de paz, cambio social, teatro como medio (es)
La descarga de datos todavía no está disponible.
Jessica Litwak, Socially Engaged Theatre

Director, Playwright, Performer

Jessica Litwak, PhD, RDT is an international theatre practitioner, drama therapist and recognized leader in the field of Socially Engaged Theatre. She is a graduate of RADA, NYU and Columbia with a BFA in acting, an MFA in playwriting and a Ph.D. in Theatre as a Vehicle for Leadership and Change. Litwak has over thirty years’ experience in theatre as an award winning playwright, Equity actor, innovative educator, director, and puppet builder. Her company the H.E.A.T. Collective produces workshops, events, and productions that bring together Healing, Education, and Activism through Theatre.  She has worked extensively in Palestine/Israel, Lebanon, Egypt, Iraq, Turkey, and Central, Eastern, and Western Europe. Litwak is a trained practitioner of Playback, Psychodrama, and Theatre of the Oppressed. She is the Artistic Director of The New Generation Theatre Ensemble (

She is a convener of the Arts and Peace Commission for The International Peace and Reach Association and an arts curator for The Rhodes campaign for European City of Culture. She is on the steering committee of Theatre Without Borders, and a Fulbright Scholar.  

Litwak, J. (2017). Todo arte es Revolución: Actuación Global y Cambio Social. (pensamiento), (palabra). Y Obra, 17(17).


A’ness, F. (2004). Resisting amnesia: Yuyachkani, performance, and the postwar reconstruction of Peru, Theatre Journal, 56(3), 395-414.

Auyero, J. (2003). Contentious Lives: Two Argentine Women, Two Protests, and the Quest for Recognition. Durham, NC: Duke University Press.

Barish, J. (1981). The Anti-theatrical Prejudice. Berkeley, CA: University of California Press.

Bentz, V. M., & Shapiro, J. J. (1998). Mindful Inquiry in Social Research. Thousand Oaks, CA: Sage.

Boal, A. (1995). The Rainbow of Desire. Routledge, London and New York.

Boal, A. (2005). Legislative Theatre. United Kingdom: Routledge.

Chayes, A., & Minow, M. (2003). Imagine Coexistence: Restoring Humanity after Violent Ethnic Conflict. San Francisco, CA: Jossey- Bass.

Cockburn, C. (1998). The Space Between Us: Negotiating Gender and National Identities in Conflict. London: Zed Books Ltd.

Cohen, C. (2011). Acting Together: Performance and the Creative Transformation of Conflict. Oakland, CA: New Village Press.

Cohen-Cruz, J., & Schutzman, M. (2006). A Boal Companion: Dialogues on Theatre and Cultural Politics. London, United Kingdom: Routledge.

Darby, J., & Mac Ginty, R. (2003). Contemporary Peacemaking: Conflict, Peace Processes and Post-war Reconstruction. New York, NY: Palgrave MacMillian Ltd.

Fox, J. (1994). Acts of Service. New Paltz, NY: Tusitala Publishing.

Febres, S. L. (2011). Memory of Violence and Drama in Peru. The Experience of the Truth Commission and the Yuyachkani Theater Group. Speech delivered at Brandeis University, available at:

FreeDimensional Advo-Kit (2012), available at

Freire, P. (1992). Pedagogy of the Oppressed. New York, NY: Continuum.

Ganguly, S. (2010). Scripting Power. Kolkata, India: Biplab Das.

Hickman, G. (2010). Leading Change in Multiple Contexts. Thousand Oaks, CA: SAGE Publications.

Horowitz, S. (2012). It’s not easy being a Jewish artist in a Muslim land. Jewish Daily Forward.

Johnson, A. G. (2006). Privilege, Power and Difference. New York, NY: McGraw-Hill Companies, Inc.

Kegan R., & Lahey L. L. (2009). Immunity to Change. How to Overcome It and Unlock the Potential in Yourself and Your Organization. Boston, MA: Harvard Business Press.

Kershaw, B. (1992). The Politics of Performance. Radical Theatre as Cultural Intervention. New York, NY: Routledge.

Lacquer, W., & Rubin, B. (eds.) (1969). The Arab/Israeli Reader. New York, NY: Penguin.

Lederach, J. P. (2005). The Moral Imagination: The Art and Soul of Building Peace. New York, NY: Oxford University Press.

Levit, N., Verchick, R., Minow, M. (2003). Feminist Legal Theory. New York: NYU Press.

Litwar (2014). Checkpoints, Teaching Theatre in Conflict Zones. 2014 TCG National Conference: Crossing Borders {Art | People} blog salon, curated by Caridad Svich available at: http://

Lyman, L., Strachan, J., & Lazaridou, A. (2012). Shaping Social Justice Leadership. New York, NY: Rowan & Littlefield Publishers.

Mac Ginty, R. (2013). The Routledge Handbook of Peacebuilding, New York, NY: Routledge.

Miles, J., & Litwak, J. (1987). Women Heroes. Six Short Plays from the Women’s Project. New York, NY: Applause Books.

Mohan, D. (2004). Reimagining Community. Scripting Power and Changing the Subject through Jana Sanskriti’s Political Theatre in Rural North India. Journal of Contemporary Ethnography, 33(2), 178-217.

Northouse, P. G. (2010). Leadership. Theory and Practice. Thousand Oaks, CA: Sage Publications.

Nussbaum, M. (2010). Not for Profit. Why Democracy Needs the Humanities. Princeton, NJ: Princeton University Press.

Peters, R. T. (2004). In Search of the Good Life. The Ethics of Globalization. New York, NY: The Continuum International Publishing Group.

Prentki, T., & Preston, S. (Eds.) (2008). The Applied Theatre Reader. New York, NY: Routledge.

Rohd, M. (1998). Theatre for Community, Conflict and Dialogue. The Hope is Vital Training Manual. Portsmouth, NH: Heinemann.

Sanger, M. (1919). Birth Control Review. New York: Bretano's.

San Suu Kuy, A. (1991). Freedom from Fear: And Other Writings. London, UK: Penguin.

Senge, P. (1994). The Fifth Discipline Fieldbook. New York: Doubleday.

Sinclair, A. (2007). Leadership for the disillusioned. Australia: Allen & Unwin.

Thalhammer, K., O’Loughlin, P., McFarland, S., Glazer, M., Shepela, S., & Stoltzfus, N. (2007). Courageous Resistance. The Power of Ordinary People. New York: Palgrave.

Tobach, E. (2008). Women and Peace. Peace and Conflict: Journal of Peace Psychology, 14(1), 15-21.

Young, I. M. (2010). Responsibility for Justice. Cambridge, Mass.: Oxford University Press.

Young-Jahangeer, M. (2013). ‘Less than a dog’: interrogating theatre for debate in Westville Female Correctional Centre, Durban South Africa. Research in Drama Education: The Journal of Applied Theatre and Performance, 18(2), 200-203.