{"id":2494,"date":"2021-09-13T11:21:02","date_gmt":"2021-09-13T11:21:02","guid":{"rendered":"https:\/\/theodoregrammatas.com\/?p=2494"},"modified":"2021-09-13T11:21:03","modified_gmt":"2021-09-13T11:21:03","slug":"heinz-uwe-haus-and-theatre-making-in-cyprus-and-greece","status":"publish","type":"post","link":"https:\/\/theodoregrammatas.com\/?p=2494&lang=en","title":{"rendered":"Heinz-Uwe Haus and Theatre Making in Cyprus and Greece"},"content":{"rendered":"\n

Heinz-Uwe Haus\u00a0has published a new book, titled\u00a0Heinz-Uwe Haus and Theatre Making in Cyprus and Greece<\/a><\/em>\u00a0(Cambridge Scholars Publishing,\u00a0Newcastle upon Tyne, UK; 405 pages;\u00a0release date: Sept. 8, 2021). Co-edited by Daniel Meyer-Dinkgr\u00e4fe and supported by Costas Hadjigeorghiou, the book presents a selection of the considerable amount of material written and published in relation to Haus’s productions of Brecht\u2019s plays and Brechtian productions by other dramatists, especially ancient Greek drama, in Cyprus and Greece since his production of\u00a0The Caucasian Chalk Circle\u00a0<\/em>marked the launch of the Cyprus National Theatre in 1975 after the country\u2019s political turmoil culminating in the Turkish invasion.<\/p>\n\n\n\n\n\n\n\n

Included is material written by Haus at the time for his cast, newspaper reviews and academic articles about the productions, conference contributions, essays of the director and reflections by cast members (both professional actors and university faculty) and designers (set, costume, light, music). Among the contributors are prominent voices of Greek, Cypriot and international criticism and culture. The book is illustrated with images of posters and drawings for the productions. The documents and the descriptions of all of Haus\u2019 Cypriot and Greek productions demonstrate how his goal was to reinvigorate the theatre through a theatrical vocabulary not tied to language, but in context to the social conditions. Haus used all aspects of theatre to stage this: lighting, set, props, costumes and most importantly: action. One reviewer said the book “radiates the spirit of empathy, optimism, courage and energy.\u201d Another reviewer wrote, \u201cThe value of the publication is its wealth of knowledge of theatre making. Though directing may be Haus’ most austere style of presenting his views, it is the concept that epitomizes his career. Haus did away with conventional methods of acting, staging, and performance. He replaced ‘realistic settings’ with ‘imagined space’ that often revealed the mechanics of the stage and created startling visual effects\u2026. Haus’ focus became the actor’s ability to create through his imagination of social attitudes any situation to which the ’emotional memory’ of the audience will respond.”<\/p>\n\n\n\n

Heinz-Uwe Haus<\/strong> is an internationally renowned director and is considered one of the world\u2019s leading authorities on Bertolt Brecht. Since 1979, he has been Professor of Theatre at the University of Delaware, USA. Educated and trained in Germany at the Film Academy Potsdam-Babelsberg, as well as at the Humboldt-Universit\u00e4t in Berlin, he began his long artistic and academic career as Director at the Deutsches Theatre Berlin, and as founding member of the East German Directing Institute and Head of its Directing Department. In addition to his work in Germany, he has directed for the National Theatres of Greece, Cyprus, and Turkey, and worked with companies from Chile, Finland, Italy, South Korea, Canada, and the USA. His literary texts and poetry, as well as his work as painter (partly under his pseudonym Jean Bodin), have only recently been made known to a wider international audience. In 1989\/90, Haus was a board member of the East German \u201cDemocratic Awakening\u201d party (Demokratischer Aufbruch) and founder and representative of the \u201cPraxis Group\u201d in the USA. In 1992-1993, he worked as Director of the Educational Centre Schloss Wendgraeben of the Konrad-Adenauer-Foundation.<\/p>\n\n\n\n

Daniel Meyer-Dinkgr\u00e4fe<\/strong> studied English and Philosophy at the Universit\u00e4t D\u00fcsseldorf, before obtaining his PhD from the University of London in 1994. From 1994 to 2007, he was Lecturer and Senior Lecturer in the Department of Theatre, Film and Television Studies at the University of Wales Aberystwyth, and, from 2007 to 2017, he served as Professor of Drama at the Lincoln School of Performing Arts of the University of Lincoln, UK. He is currently Artistic Director of piccolo teatro Haventheater Bremerhaven, Germany.<\/p>\n\n\n\n

Contributors<\/strong>: <\/p>\n\n\n\n

Andy Bargilly, Despina Bebedeli, William Browning, Andri Constantinou, Claudine Elncave, Thodoros Grammatas, Costas Hadjigeorgiou, Klitos Ioannides, Stelios Kafkarides, Petros Makaris, Neophytos Neophytou, Odile Popescu, G\u00fcnther R\u00fcther, Klaus M Schmidt, Guy Stern.<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Heinz-Uwe Haus\u00a0has published a new book, titled\u00a0Heinz-Uwe Haus and Theatre Making in Cyprus and Greece\u00a0(Cambridge Scholars Publishing,\u00a0Newcastle upon Tyne, UK; 405 pages;\u00a0release date: Sept. 8, 2021). Co-edited by Daniel Meyer-Dinkgr\u00e4fe and supported by Costas Hadjigeorghiou, the book presents a selection of the considerable amount of material written and published in relation to Haus’s productions of Brecht\u2019s plays and Brechtian productions by other dramatists, especially ancient Greek drama, in Cyprus and Greece since his production of\u00a0The Caucasian Chalk Circle\u00a0marked the launch of the Cyprus National Theatre in 1975 after the country\u2019s political turmoil culminating in the Turkish invasion.<\/p>\n","protected":false},"author":2,"featured_media":2495,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[132,116,130],"tags":[1045,834,1044,41,1042,1043],"class_list":["post-2494","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-review","category-news","category-review","tag-book","tag-brecht","tag-daniel-meyer-dinkgrafe","tag-heinz-uwe-haus-en","tag-theatre-in-cyprus","tag-theatre-in-greece"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/09\/9781527572744.jpg?fit=1611%2C1430&ssl=1","jetpack-related-posts":[{"id":2459,"url":"https:\/\/theodoregrammatas.com\/?p=2459&lang=en","url_meta":{"origin":2494,"position":0},"title":"Cultural Consciousness and Theatrical Creation in Postwar Modern Greek Theatre: The “Hellenism Syndrom” phase","author":"Theodore Grammatas","date":"May 19, 2021","format":false,"excerpt":"The search for cultural identity is an ever-lasting demand for the Greek dramatology. 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On the basis of this quest for theatrical\u2026","rel":"","context":"In "Modern Greek Theatre"","block_context":{"text":"Modern Greek Theatre","link":"https:\/\/theodoregrammatas.com\/?cat=126&lang=en"},"img":{"alt_text":"Sevastikoglou","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2021\/05\/4f428854bee71dd5a29e3952aa77fe84.jpg?fit=985%2C1021&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2344,"url":"https:\/\/theodoregrammatas.com\/?p=2344&lang=en","url_meta":{"origin":2494,"position":1},"title":"European Program Horizon 2020","author":"Theodore Grammatas","date":"December 5, 2020","format":false,"excerpt":"Socioeconomic and Cultural Transformations in the Context of The Fourth Industrial Revolution \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Proposal Title : Values Across Space and Time \u00a0Proposal acronym: VAST Consortium NO.Participant organization nameCountry1 (CO)NCSR-D \u2013 NATIONAL CENTER FOR SCIENTIFIC RESEARCH \u201cDemokritos\u201dEL2UMIL \u2013UNIVERSITA DEGLI STUDI DI MILANOIT3UoA \u2013 National and Kapodistrian University of AthensEL4NOVA \u2013 UNIVERSIDADE\u2026","rel":"","context":"In "Ancient Drama"","block_context":{"text":"Ancient Drama","link":"https:\/\/theodoregrammatas.com\/?cat=124&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2020\/12\/740c891ae83c527e3f88e032abbd1bba-1.jpg?fit=708%2C549&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2471,"url":"https:\/\/theodoregrammatas.com\/?p=2471&lang=en","url_meta":{"origin":2494,"position":2},"title":"“Popular” and “Highbrow” in the theatre. Cultural interaction and osmosis between the genres*","author":"Theodore Grammatas","date":"August 5, 2021","format":false,"excerpt":"Popular \/ Folk theatre The term \u201cpopular theatre\u201d 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. 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A database and a spectators\u2019 school.","author":"Theodore Grammatas","date":"November 1, 2022","format":false,"excerpt":"Abstract Drama always consisted of an invaluable \u201cdatabase\u201d 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\u2026","rel":"","context":"In "Ancient Drama"","block_context":{"text":"Ancient Drama","link":"https:\/\/theodoregrammatas.com\/?cat=124&lang=en"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theodoregrammatas.com\/wp-content\/uploads\/2022\/11\/9366fa7c6158d5780d3c2d34c3643dd8.jpg?fit=768%2C601&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2390,"url":"https:\/\/theodoregrammatas.com\/?p=2390&lang=en","url_meta":{"origin":2494,"position":4},"title":"Museum Experience through Inquiry Drama","author":"Theodore Grammatas","date":"February 9, 2021","format":false,"excerpt":"1.\u00a0\u00a0 Theoretical framework: Drama in the Museum Drama as a creative pedagogic process and the museum as a meaningful informal learning environment refer \u2013 in their own ways - to humanity and culture, aiming at spiritual, emotional, embodied experiences and experiential learning. 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