What the trajectory of modern Western theatre shows is a drastic taming of the audience. Paradoxically, the discovery of the “physiological man” that realism and naturalism achieved, as Garner accurately points out, was accompanied by a perceptual deactivation of the audience’s own physical presence (2007: 116). Continue Reading
The reception of Ancient Greek Tragedy in late Modernity: From the Citizen- Viewer of the City-State to the Consumer-Viewer of the global Cosmopolis
Ancient Greek drama, a product of unique composition comprising various and, sometimes, conflicting parameters (mythical time and objective space, philosophical rationalism and mythical consciousness, religious background and festive traditions, ritual and social entertainment, educational resource and political awareness), remains a living spectacle and represents, in all its timelessness, the concept of “classical,” probably better than any other form of art and culture (literature, sculpture, painting, etc.).
Europe: from Transnational Common wealth to Intercultural Dialogue Or “Working the Machine” of Democratic Institutions
Odile Popescu , An interview with Heinz-Uwe Haus
Today democracy is bound to the recognition of pluralism and difference. Theatre too cannot escape such a debate. It cannot avoid the question of its socio-economic basis and the political and economic analysis of the transformations created by globalization.Before we embark on this analysis, however, we must acknowledge the great diversity of interculturalism and of the related genres. (…) Continue Reading
Reflecting upon European identity, we not only remember our history and look ahead towards future developments, but we also engage in forms of analysis that bring into play normative standards by which actual developments are judged in view of unrealized possibilities. Life is a dream and the world a stage. Continue Reading