Speaking of Acting today most of us agree, that actors, like other artists, are practicing the specifics of an art form, not a slavish adherence to nature or so-called real life. Heeding Hamlet’s advice to the players, they hold the mirror up to nature and perfect the mirror image, the representation of nature. Continue Reading
Theatre History
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The Actor’s Art and the Estrangement in our Age
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Catharsis for the Bourgeois
In a commentary on Ethika Nikomacheia by Aristotle, the critic, Andreas Dalezios, points out «… in vain would one look for a declaration of moral commands, addressed to young people, slaves or low-class workers.» Continue Reading
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The Greek Society during the period of crisis. The role of History as a mechanism of repelling the present
As the beginning of the 21st cenutury, Greece has been caught in the vortex of great economic, social, cultural and political turbulence, which has upturned its smooth European course and has brought about radical changes in the attitude, ideology and economic situation of the Greek citizens. Continue Reading
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Re-visiting the Community: The Politics of Theatre Beyond the Theatre
Weakening spectatorship
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.).
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Europe: from Transnational Common wealth to Intercultural Dialogue Or “Working the Machine” of Democratic Institutions
Odile Popescu , An interview with Heinz-Uwe Haus
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
