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
Theory of Theatre
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Ancient Greek Drama on Modern Greek Stage. Theatrical Tradition and Cultural Memory
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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
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The Actor’s Art and the Estrangement in our Age
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
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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. Continue Reading
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Traditional forms of the postmodern environment the story teller as a performer
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 the theatre can be called the “art of memory” Continue Reading
