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
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Re-visiting the Community: The Politics of Theatre Beyond the Theatre
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The folk tale of the pied piper of Hamelin for an animating theatre pedagogy
DRAMA ANIMATION
Some people might ask why theatre is so important during school: the answer is, in order to lighten up the children’s souls, to help them achieve self-knowledge through the significant, everyday issues of life presented to them, as well as to make them discover the many prospects of knowledge and understand the functions of being. By offering them an overall perception of themselves and the world, theatre becomes a vehicle for holistic learning. Continue Reading -
Pedagogical use of the storytelling in a contemporary educational environment
The folktale narration goes back to art and the tradition of oral speech, (Ong 1984: 1-12) in a period of time when there was no written speech. (Levy- Bruh 1985) Its context is the imaginary narration of events and actions with a natural/real or extra-terrestrial/supernatural character, which represented the initial source of knowledge and learning for the primitive man (Levi- Strauss 1966). Later, by becoming more sophisticated, it was turned into a special cultural expression of the people and was monopolized almost by a children’s audience and the literature for children (Biakolo 1999: 42-65). Continue Reading
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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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Traditional forms of the postmodern environment the story teller as a performer
The narration of the events and situations, human actions and behaviors with cosmological, ethical, social or other context, as the capture of the spirit, via the human being tried to give the picture that he had for the world and its place in it. With a way purely imaginary and mythological at first that was made more objective later, he passed from the myth to the legend, in tradition and they were transformed into history and science Continue Reading
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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
