The Malta Drama Centre has been using Augusto Boal's Theatre of the Oppressed Method, including Forum Theatre to animate overseas programmes under the auspices of the European Commission. A crucial feature of this methodology involves the Joker, a link-person between the actors and the public. The functions of the Joker according to the Boal Method are profiled in the following feature.


The Joker system proved to be difficult to interpret and apply. The function of the Joker in the seven projects undertaken in Istenkut varied widely, from over-protagonism by a Romanian actor to a vague, passive interpretation by a British community worker who was invited over on the basis of an exchange agreement. Fundamental errors were committed e.g. the Joker ordering back an actor replaced by a spectator or introducing characters at his will.


The Consultant considered it very important to synthesise the actual function and significance of the Joker method according to Boal's basic texts. The following points solicit fundamental attention:



1. The objectives of the Joker system are both aesthetic (substituting the classical chorus, narrators in drama, etc) and "economical" (in a political sense).


2. In other systems of theatre, the analytical aspect is covered by monologues, narrator roles, chorus, etc. These systems are camouflaged, i.e. the roles belong to the ground of other characters, not the spectators. The Joker, on the contrary, makes alliances with the spectators; he/she is their neighbour.


3. It is important to bring the Joker close to the public and far away from the other characters.


4. There are two complimentary functions for the Joker: (a) creating meaning to the "fable" (story) and (b) delivering "lecture" and involving the spectators.


5. The Joker can use different styles according to the nature of the scenes: he/she can use naturalism, surrealism, pastoral, tragicomedy, etc.


6. The Joker treats the play as a trial in court.


7. The Joker should not accept the idea of fate or destiny. He/she opposes a mechanistic outcome of the dramatic situation.


8. It is possible for the Joker to search for "alternative" methods that bring issues/problems more into focus. For instance, in the beginning Boal introduced the Joker as interviewer of the characters, in order to mix consciousness and time. The Joker is always a citizen of the here-and-now, but he can interview the characters about their past or about their motives. Still, the Joker would always be on the side of the spectators.


9. In the early stages of the Joker, Forum Theatre also introduced a "final exhortation" in order to stimulate spectators to resist oppression.


10. Much of the success (or failure) of the Joker method will depend on the preparation of the actor who will play the part. Acting talent is obviously an advantage, but the director must be very careful not to let the actor playing the Joker become an exhibitionist or a protagonist; the real protagonists are the spectators who become spect-actors.