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“The theater itself is not revolutionary: it is a rehearsal for the revolution.”

Augusto Boal 

First introduced to me in high school, Boal’s teachings fascinated me. Reading both Theatre of the Oppressed and Legislative Theatre provides some incredible ideas, but… did they work? Sure, maybe they allowed for some local policy change in São Paulo in the 70s, but what about the United States in 2026? 

How can one use theater to implement tangible political change in the real world? 

I believe the ultimate goal of not just any actor but any person is to uplift the collective. I believe everyone can and should be focused on living daily within their community; participating in city events, volunteering at food pantries, or starting a community garden in your neighborhood. 

Artists, however, have a specific responsibility. And while entertainment and landscape paintings are absolutely needed, the utmost objective of an artist is to critique. Brecht’s poem “The Critical Attitude” asserts “Give criticism arms / And states can be demolished by it.” 

Actors specifically can challenge and critique audiences directly, not through the veneer of canvas and oil, but face-to-face, intimately connecting with audiences. Not with lectures or accusations, but empathy. Critique through empathy is the tool of an actor. Later in that same poem, Brecht clarifies that educating a person and even transforming a state are not only instances of criticism, but also instances of art. What is the art of acting if not empathy?

While I acknowledge that art purely for entertainment’s sake is an integral part of living a fulfilling and enjoyable life, it shouldn’t be the sole purpose of the work. At least, not while the world looks like it does now. As much as I love watching the Fast and the Furious, I don’t want that to be my legacy. I want Macbeth in Stratford. An Enemy of the People in Oslo. Original works with theater artists from Kenya, Puerto Rico, or Gaza. I want to work in community with other actors, writers, directors, designers to create an experience that educates, questions, and critiques. And eventually… long after any one show has passed, those audiences will remember. And they will organize. They will protest. Maybe one day, they will revolt. 

I’m not motivated by money or fame. I want to upset the status quo through the power of performance. I want to rehearse for the revolution.