Abstract

A common theme conspicuously emerges from the few translated and published narratives of Vietnamese who participated in resistance against French colonialism in the 1950s. These narratives tend to identify moments of being an audience member to theater as having significant roles in these individuals’ political awakening and desire to sacrifice themselves for anticolonial struggle. Drawing on these narratives, this essay shows how some audience members engage in an empowering kind of political theorizing that elicits cross-cultural revelation, is progressive, generates feelings of solidarity, and inspires them to engage in political action. In showing how being an audience member can lead to revolutionary action, these cases exceed the expectations of theorists of revolutionary theater such as Bertolt Brecht and Augusto Boal. They also offer a direct refutation of Jean-Jacques Rousseau’s famous claim that being an audience member at a theatrical performance is politically and morally enervating.