While practicing in South America earlier in his career, Boal would apply "simultaneous dramaturgy". In this process, the actors or audience members could stop a performance, often a short scene in which a character was being oppressed in some way (for example, a typically chauvinist man mistreating a woman or a factory owner mistreating an employee). In early forms of "simultaneous dramaturgy", the audience could propose any solution, by calling out suggestions to the actors who would improvise the changes on stage. This was an attempt to undo the traditional audience/actor partition and bring audience members into the performance, to have an input into the dramatic action they were watching. Forum Theatre was essentially born from "simultaneous dramaturgy". The concept of the "spect-actor" became a dominant force within and shaped Boal's theatre work, gradually helping it shift into what he called Forum Theatre (due to the acting's taking on the character of a public discussion or series of proposals, only in dramatic format). The audience were now encouraged to not only imagine change but to actually practise that change, by coming on stage as "spect-actors" to replace the protagonist and act out an intervention to "break the oppression". Through this process, the participant is also able to realize and experience the challenges of achieving the improvements he/she suggested (Wardrip-Fruin, 344). The actors who welcome the spect-actor volunteering onto the stage play against the spect-actor's attempts to intervene and change the story, offering a strong resistance so that the difficulties in making any change are also acknowledged. Thus, Boal's current manifestation of Forum theatre is as follows: the actors (either professional actors or non professionals drawn from oppressed communities) perform a play with a scripted core, in which an oppression relevant to the audience is played out. After reaching the scripted conclusion, in which the oppressed character(s) fail to overturn their oppression, the actors begin the production again, although often in a condensed form. At any point during this "second" performance, any spect-actor may call out "stop!" and take the place of the actor portraying the "oppressed" individual (this actor stays on stage but to the side, giving suggestions to the spect-actor who has replaced him/her). If and when the oppression has been overthrown by the spect-actors, the production changes again: the spect-actors now have the opportunity to replace the "oppressors", and find new ways of challenging the oppressed character.