• Drama and Theatre in ancient Greece. A database and a spectators’ school.

    Abstract

    Drama always consisted of an invaluable “database” for the culture and education of the ancient Greek spectators, who used to watch it as a performance that derived from the already existing literary types and forms (epic and lyric poetry) on which it was based and which included up to a certain degree; namely, in Aeschylus, Sophocles, Euripides’ tragedies and Aristophanes’ comedies, almost all the ideas, the messages, the moral values and the knowledge that constitute the so called “Ancient Greek Thought and Philosophy”, coexistand consist of the values of the ancient Greek culture as a whole. However, these do not represent the accumulation of some valuable material, but the creative conjunction and composition of qualitative and quantitative data in an astonishing analogy and harmony that expresses the basic principles and virtues of the ancient Greek Thought such as Moderation, Harmony, Symmetry, Equilibrium and the correspondence between form and content. This explains why the ancient Greek drama has been characterized by scholars as the “Theatre of Ideas” (Arrowsmith, 1963: 32) and the dramatic poets as “Educators” (Arnott, 1970: 35), since they used the stage in order to criticize their world, to promote the ideas rather than the heroes’ characters in their plays, thus providing an integrated culture and education for their spectators.

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    November 1, 2022 • Ancient Drama, Theory of Theatre • Views: 106

  • International Theatre Conference “Values of Ancient Greek Theatre Across Space & Time: Cultural Heritage and Memory”

    The National and Kapodistrian University of Athens (NKUA) will be hosting the International Conference named Values of Ancient Greek Theatre Across Space & Time: Cultural Heritage and Memory.

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    October 11, 2021 • News • Views: 819

  • Heinz-Uwe Haus and Theatre Making in Cyprus and Greece

    Heinz-Uwe Haus has published a new book, titled Heinz-Uwe Haus and Theatre Making in Cyprus and Greece (Cambridge Scholars Publishing, Newcastle upon Tyne, UK; 405 pages; release date: Sept. 8, 2021). Co-edited by Daniel Meyer-Dinkgräfe and supported by Costas Hadjigeorghiou, the book presents a selection of the considerable amount of material written and published in relation to Haus’s productions of Brecht’s plays and Brechtian productions by other dramatists, especially ancient Greek drama, in Cyprus and Greece since his production of The Caucasian Chalk Circle marked the launch of the Cyprus National Theatre in 1975 after the country’s political turmoil culminating in the Turkish invasion.

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    September 13, 2021 • Book Review, News, Review • Views: 610

  • “Popular” and “Highbrow” in the theatre. Cultural interaction and osmosis between the genres*

    Popular / Folk theatre

    The term “popular theatre” denotes a cultural creation the specific features of which remain constant and characteristic of this theatrical category (Grammatas 2006 : 239-241) despite any changes that might have taken place over the times. Its basic source of origin is the “ritual”, which, though not identical, relates to the concepts of “ritual” and “custom”, and is often used interchangeably in international bibliography (Puchner 1985 : 40).

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  • Cultural Consciousness and Theatrical Creation in Postwar Modern Greek Theatre: The “Hellenism Syndrom” phase

    The search for cultural identity is an ever-lasting demand for the Greek dramatology.

    During the post-war years the presence of this search is intensive, and the variety of its forms and versions depends each time on the specific historical and social conditions.

    On the basis of this quest for theatrical and, furthermore, cultural consciousness, and on condition that the theatre consists of the production of an objective reality on stage, we proceed to the analysis of our subject.

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    May 19, 2021 • Modern Greek Theatre, Theatre History • Views: 662

  • Museum Experience through Inquiry Drama

    1.   Theoretical framework: Drama in the Museum

    Drama as a creative pedagogic process and the museum as a meaningful informal learning environment refer – in their own ways – to humanity and culture, aiming at spiritual, emotional, embodied experiences and experiential learning. Drama in formal education as a holistic approach to knowledge, values, attitudes and skills leads participants to inquiry, innovation, imagination, self-identification and empathy (O’ Toole et al. 2002; Neelands et al. 2003). Museums in the 21st century provide experience, knowledge and skills to visitors/students (Hooper-Greenhill 1994, 2000), offer opportunities of reflection, inquiry and application to life (Hein 2004), and produce and reproduce meanings and attitudes (Pearce 1993). In  addition to that, museum pedagogy uses several experiential methods, like workshops and dramatic events (Hooper-Greenhill 2000, 2007). Therefore, the theoretical framework of this article refers to inquiry in drama and museum experience as a keyword to museum education programmes.

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    February 9, 2021 • Theatre and Education • Views: 1641

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