Theory of Theatre

  • The Reception of Ancient Drama Values by the modern audience: “Seven against Thebes’’- Audience Research

    1. Selection of a Play for Analysis

    The research team‘s initial concern was to find an appropriate play / theatrical performance that was sufficiently well-known and recognizable by general theatrical spectators, contained rich conceptual context and values, and has been well-received as an artistic rendition by both critics and audience. Furthermore, the performance had to be realized by a director who had a balanced approach in the rendition of ancient drama. Finally, the performance should be streamed on the internet, and the research team should obtain projection rights as well as access rights for the research participants.

    Continue Reading

    February 14, 2024 • Theatre for Young Audiences, Theory of Theatre • Views: 119

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


    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.

    Continue Reading

    November 1, 2022 • Ancient Drama, Theory of Theatre • Views: 1622

  • “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).

    Continue Reading
  • Absent Presence of Illusion and Present Absence of the Picture from the Pictorial Symbols of the Theatre to the Virtual Symbolisation of the Real

    The problem of the existence or not of a reality, which outside the dimension of the intelligent subject, that is, the relationship of the subjectivity of conscience and the objectivity of the world, comprises an issue lending itself to a multiplicity of approaches and dimensions such as ontology, gnosology, psychology and metaphysics, neurophysiology and sociology. The questions posed and the answers given appear in philosophical and literary texts, scholarly studies and artistic creations, directly or indirectly linked to notions suck as “utopia” and “science fiction”, “temporality” and “reality”, “futurity” and “metaphysics”.

    Continue Reading

    October 21, 2020 • Theory of Theatre • Views: 1591

  • Codes Communicatifs de la Commedia dell Arte et leur Application au Theatre Jeunes Spectateurs

    La Commedia dell’Arte, forme théâtrale de provenance populaire, dispose des traits distinctifs propres à lui, de sorte qu’ elle peut être approchée et perçue par lui. Le but de notre communication porte à préciser les codes communicatifs dont elle se sert, et par la suite à circonscrire leur fonctionnalité chez les spectaters aux quels elle s’adresse. A l’ aide de ces constatations, nous envisageons d’ explorer, dans la suite leur application potentielle dans un genre spécifique du théâtre, celui qui s’ adresse aux jeunes publics.

    Continue Reading

    July 12, 2020 • Global Theatre, Theatre History, Theory of Theatre • Views: 1984

  • When Pupils Go to Theatre: The Activation of Memory and the Mnemonic Depiction

    Going to theatre, may be a unique experience for schoolchildren, which is indelibly etched in their memory. The Primary School pupil-spectator comes in touch with the theatre principles and is initiated in its world. S/he experiences its ritual and cohesively structured character within the frame of the collectivity that is required and with the particularity of the formation of the psychic mechanism and social conscience in this specific phase of the development of his/her personality, as well as the influence of a number of some other differentiating factors, thus leading to the establishment of a very special relation and interaction between the stage and the audience. Continue Reading

    March 28, 2020 • Theatre for Young Audiences, Theory of Theatre • Views: 2385