2019 Year 12 IB Extended Essays

as a lover for his sexual desires, a mother to raise his offspring, and a household manager. For him marriage is a social title and evidence of prosperity, his love is insincere and in genuine. "I know you're helpless without me." "Sometimes I get the urge to hide you, like a bird in my chest." Sameresh’s particular stance is unclear but he is the first to point out the misogynistic cycle Apa faces, telling her; "A girls’ marriage is just a simple change of hands." He outlines her value is entirely dependent on her husband's earnings and reputation. (Jana Sanskriti Centre for Theatre of the Oppressed, 2019) With elements of Indian folk style including traditional dance, song and comic repartee, ‘Khelar Ghar’ used an ensemble to reinstate purpose, create a dramatic atmosphere and cement particular ideals which would be discussed later in the Forum session. The chorus assisted in communication and underpinned the political strategy of the work. They reinforced motifs with song, dance, and image, and represented the abstract motifs of the play in a visually engaging way. In-between scenes, amongst casual dialogue, members of the ensemble would act as Apa's conscious, specifically her insecurities and doubts. They would voice the underlying messages of a particular scene, interject and form statues to symbolise abstract emotions and stances. The chorus work and the main narrative came cohesively together with a richness of colour, spectacle, and rhythm. The forum session that follows immediately after, was in every way- transformative. What Boal communicates so poignantly in Theatre of the Oppressed, is witnessed here at the Augusto Boal Auditorium in Badu North. At the conclusion of the production, the Joker appears on stage to brief the audience; "We are trying to understand what Aparajita's point is. When she says you

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