Heinz-Uwe Haus was the first renowned director from the German Democratic Republic to (be allowed to) direct in the USA. Continue Reading
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Heinz-Uwe Haus and Brecht in the USA: Directing and Training Experiences
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Du sacre au profane et vice versa? L’ aventure et l’ avenir du mythe theatral
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
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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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Time in the Theatre Memory of a timeless present on stage, Athens 23-25 May 2018
H[/ropcap]ow is time depicted in Theatre? And how is it inscribed as a memory on the spectator’s consciousness when the fleeing unique moment of the theatre performance ceases to be, and the “once and only one time”of the stage representation becomes part of the spectator’s deposit of similar experiences? Continue Reading