Starting from the revolutionary theater movements in Latin America during the 1960s and 1970s, which aimed at a political awakening process to mobilize the masses for the democratization of the countries, the Theater of the Oppressed founded by Augusto Boal has evolved since its inception, particularly in light of changing worldviews and the subsequent changes in social conditions and production circumstances. In 2003, the fundamental declaration of the Theater of the Oppressed stated that its goal is the humanization of humanity itself. Birgit Fritz examines the development of the Theater of the Oppressed, especially the connections between its intentions and an aesthetics of perception. She convincingly supports her main thesis that Augusto Boal's theater remains relevant beyond its original historical context.