Describes “spectators” as passive beings in the theatrical phenomenon — with the objective being changing people into subjects, into actors, transformers of the dramatic action.

The plan for transforming the spectator into actor can be systematized in the following general outline of four stages:

1. Knowing the body: a series of exercises by which one gets to know one’s body, its limitations and possibilities, its social distortions and possibilities of rehabilitation.

2. Making the body expressive: a series of games by which one begins to express one’s self through the body, abandoning other, more common and habitual forms of expression.

3. The theater as language: one begins to practice theater as a language that is living and present, not as a finished product displaying images from the past — it has three degrees, namely, Simultaneous dramaturgy (spectators write along with actors acting), Image theater (spectators speak), and Forum theater (spectators intervene directly)

4. The theater as discourse: simple forms in which the spectator-actor creates “spectacles” according to their need to discuss certain themes or rehearse certain actions.

It later goes into how the word “spectator” itself is a bad word.

I found it to be a very political text.