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This author described theatrical exercises such as “a balloon as an extension of the body” and “Colombian hypnosis” in the book Games For Actors and Non-Actors. For 10 points each:
[10h] Name this Brazilian theater practitioner who was inspired by Marxist philosophy to develop the Theater of the Oppressed as an educational tool, in which “spect-actors” both observe and act in performances.
ANSWER: Augusto Boal
[10m] The Theater of the Oppressed was influenced by this earlier theater practitioner’s “learning-plays,” which sought to eliminate the divide between actor and audience. In a play by this author, Shen Teh pretends to be her male cousin Shui Ta to protect herself.
ANSWER: Bertolt Brecht [or Eugen Berthold Friedrich Brecht] (The play is The Good Person of Szechwan.)
[10e] Like the removal of the actor/audience distinction in his “learning-plays,” Brecht’s distancing effect violates this convention, which may be “broken” when actors directly address the audience, like what I am doing here.
ANSWER: fourth wall [accept breaking the fourth wall]
<CH, European Literature>

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I will play anything with a buzzer in front of meAuxiliary Lofthouse Cookie University0101020