Who Is A Squatter's Invisible Theatre?

We will use these elements from Six Charaters when designing the set of our play, and defining how it should be acted. The audience will walk into a building that clearly, is not a theatre. The venue will be run down, looking as if this was once a theatre space but is now a squatter’s home where the characters live. The characters being the child prostitutes, which, in this space, can be seen as individuals separate from the role that defines their identity. This resulting feeling of reality (similar to Boal’s invisible theatre) will be effective as the first barrier in provoking social change is that the people who are not affected by the issue have trouble imagining themselves as people who are prisoners of this issue. This way of defining

In Brecht’s case, at no point do the actors pretend that they are living the story unaware of the presence of the audience, which is constantly acknowledged and adressed as an audience. This prevents the conventional voyeuristic experience of viewing of a play. Which conventionally, shelters the audience from the action happening on the stage. Brecht does the opposite and directly engages the audience in the situation. He has the actors address the audience out of character and has them comment on the qualms their characters are faced with. This direct address will often happen at moments in the play where characters are faced with a situation. The actor will turn to the audience, sometimes in character, sometimes out, and talk to the audience about the problem; this is effective, as the character can be responding to something happening on the stage whilst acknowledging the audience. Preventing the audience from thinking that they are watching fates unfold, a position which prevents them from feeling in a position in which they have the power

These fixated faces are the symbols of the characters’ immobility in a temporal realm. Presenting them as characters that have already lived their story, whose is life is defined by the plot of the play. They are condemned to live and relive that particular part of their lives endlessly, staring over the struggle with each performance. They are Sysiphus’s contemporaries, whose reason for existing is defined by their endless struggle. In a sense, they are both dead and alive, have no time left, yet all the time that one could ever want. This type of character constantly breaks the illusion of the play, establishing them as characters both inside the play world, and outside of it, in the audience’s world. This is emphasised visually due to the lack of acknowledgement of their masks the other character-actors. The fact that this obvious visual eccentricity on the story-character’s part isn’t acknowledged and accepted as such makes the play bascule into the seemingly absurd. This unnatural characteristic of the story-character’s not being acknowledged sweeps aside the seeming naturalistic nature of the play which the setting earlier established. The only thing the character-actors seem to be able to react to is the character’s story. This places the story-characters in a different spatial plane. Though they are still able to have interactions with the theatre space and actors, contributing to audience’s alienation, constantly