The theater itself is not revolutionary: it is a rehearsal for the revolution.
Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.
The theater is a weapon, and it is the people who should wield it.
It is not the place of the theatre to show the correct path, but only to offer the means by which all possible paths may be examined.
We are all actors: being a citizen is not living in society, it is changing it.
Theatre is the art of looking at ourselves.
Nothing is going to remain the way it is. Let us, in the present, study the past, so as to invent the future.
Anyone can do theater, even actors. And, theater can be done everywhere, even in a theater.
The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!
It is forbidden to walk on the grass. It is not forbidden to fly over the grass.
Theatre is a weapon. For that reason it must be fought for.
Theatre is the most perfect artistic form of coercion.
Motion, according to him, is an illusion, because we can demonstrate that it does not actually exist; the same for the multiplicity of existing things, which are in his logic, a single being, infinite, eternal, unchangeable. Like Heraclitus, Parmenides too, had his radical disciple, named Zeno. The latter had the habit of telling two stories to prove the inexistence of motion.
The smallest incidents of our social life contain all the moral and political values of society, all its structures of domination and power, all its mechanisms of oppression.