The readings for this week focus in performance and theatre as transformative rather than its traditional conceptualization of entertainment. Boal (1985) reviews the coercive character of theatre through the idea of catharsis. Here, he proposes the use of theater as language that is put it in service “of the oppressed” (121) In this sense, his proposal is more near to that of the performance as it is a rehearsal for the revolution (122) The spectator takes action and create revolutionary poetics. Theatre becomes then political. Similarly, Brecht (1974) reviews the idea of theatre as a reflection the structure of society. He proposes a type of theatre which not only releases the feelings, insights and impulses but that makes “possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.” (190) Both authors then call for a different understanding of theatre. Taylor (2016) defines what performance is and conceptualizes its transformative potential as it leaves a trace, acting with its presence and non-presence that aims to create affects. Performance acts in relation to the systems of power, as it aims to create a new perception of the real and new possibilities. Here, I am mainly interested in the idea that performance and theatre can create what we can understand as a queer temporality; it resists “the laws of reproductive economy and it can act “about past, present and future” (10). In all the works, the authors are aiming for theatre to be seen as a gesture towards a kind of revolution.