Play, characterized by its voluntary and unconstrained nature, stands as a ubiquitous activity in the presence of humanity. Amidst the unyielding reality of daily existence, the play, distinguished by its distinctly alternative manifestation and the transient introduction of an alternate realm, establishes an enticing plane. The nexus formed between individuals and plays has constituted a perennial subject of inquiry, exploring the individual and societal functions of plays across epochs. Johan Huizinga, in his work 'Homo Ludens,' delves into the relationship between play and culture, positing that plays precede culture and that each play, by establishing its unique set of rules, integrates itself into the fabric of culture. Augusto Boal, a preeminent director of the 20th century, operationalizes a perspective in his methodology titled 'Theatre of the Oppressed,' emphasizing the societal function of plays. This study assesses the perspectives of Huizinga regarding the interplay between plays and culture, alongside Boal's theatrical approach employed as a means to instigate societal transformation. To this end, a literature review was conducted on the play approaches of Huizinga and Boal, culminating in an evaluation of the relationship between these approaches based on the acquired findings.
Keywords: Play, Johan Huizinga, Augusto Boal, Theater, Theatre of the Oppressed