Twenty-five years after the landmark publication of Theatre of the Oppressed, there is no denying the continuing influence of Augusto Boal on theatre practitioners, community workers, and political activists worldwide. To judge by the number of recent publications by or about Boal (including five best-selling books from Routledge in little more than a decade), the ‘Boal Boom’ shows no evidence of decline. There is also, however, an emerging culture of critique around various aspects of the theory and practice of Theatre of the Oppressed; and in the following article, Paul Dwyer argues that a reflexive, critical approach to using Boal's techniques should begin with an acknowledgement that they are not based on a stable theoretical foundation. Rather, the underlying principles, articulated by Boal in the many anecdotes that fill his books, lectures, and workshops, appear to have shifted over the years to become more closely aligned with the expectations of his audience. The theory of Theatre of the Oppressed should thus be seen as a co-creation for which the readers and propagators of Boal's work share a significant responsibility. Paul Dwyer is a lecturer in the Department of Performance Studies at the University of Sydney.