The poetics of the oppressed, according to Augusto Boal in the selection from The Theatre of the Oppressed, transforms the spectator into an actor, in preparation for real action in the world, by focusing on the movements and expressions of the body. The last scene in Ruined, particularly the final dance, hints at the kind of physical transformation by the protagonist (Mama) that is necessary to overcome the brutal scars of past atrocities. How is Boal’s direction of empowerment through physical ownership reflected in the text?

The poetics of the oppressed, according to Augusto Boal in the selection from The Theatre of the Oppressed, transforms the spectator into an actor, in preparation for real action in the world, by focusing on the movements and expressions of the body. The last scene in Ruined, particularly the final dance, hints at the kind of physical transformation by the protagonist (Mama) that is necessary to overcome the brutal scars of past atrocities. How is Boal’s direction of empowerment through physical ownership reflected in the text?