La tragédie grecque ancienne représentant l’ écho des expériences religieuses et existentielles de l’ homme primitif, dramatisées par des notions telles que “ύβρις” et “νέμεσις”, “ειμαρμένη” et “άτη”, se sert du mythe comme noyau thématique et moyen expressif, ce dont elle a besoin. Continue Reading
Theory of Theatre
Category
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Du sacre au profane et vice versa? L’ aventure et l’ avenir du mythe theatral
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Theatre as a place of recording and managing historical memory
Theatre as a piece of literature (drama), as well as stage act (performance), shapes human actions and circumstances crafted by the playwright, either taken from the historic present and past, or based on mythological issues and imaginary situations. Continue Reading
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Trends in the direction of the Ancient Drama
The formation of the classic tradition
The fact that the Ancient Drama has such and of that kind of value and its influence on the formation of modern global theatre is so determinative, is neither because of the width and the quality of the time values and the universal messages that it carries, nor because of its aesthetic perfection, which makes it a cross section “classic” piece of literature. Continue Reading
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Ancient Greek Drama on Modern Greek Stage. Theatrical Tradition and Cultural Memory
The first efforts for stage productions of ancient Greek drama, and tragedy mainly, begin during the Age of Enlightenment, when Greece is not an independent nation yet. They are connected with the efforts of forming a national consciousness and return to the ancestral heritage (Branchfeld 1962: 341-349). With the creation of an independent Greek nation in 1830, ancient dramas are produced more frequent, always associated with linguistic and ideological demands of the times. Continue Reading
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Memories of heroines in memories of spectators: mythic, dramatic and theatrical time from the ancient drama to the modern greek theatre
If by “performance” we mean the “poetics of remembrance”, since it is there that the playwright’s and the actor’s memory as well as the spectators’ memory and social memory creatively meet, then theatre can be called the “art of memory”. Continue Reading
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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. Continue Reading
