Relevant bibliographies by topics / Epidaurus Theater (Epidaurus)

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Academic literature on the topic 'Epidaurus Theater (Epidaurus)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 February 2023

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Journal articles on the topic "Epidaurus Theater (Epidaurus)"

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Balaskas, Vasileios. "Local involvement in modern Greek revivals of ancient theatres: Delphi and Epidaurus in the inter-war period." Byzantine and Modern Greek Studies 45, no. 1 (2021): 75–91. http://dx.doi.org/10.1017/byz.2020.25.

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Local community participation in the revival of ancient theatres as venues in Greece shaped the dynamics of the cultural reception of inter-war performances at Delphi and Epidaurus. Here I analyse local involvement within and beyond the theatrical context of the Delphic Festivals, as well as the long-standing identification of the village of Ligourio with the theatre of Epidaurus. These relationships reflect distinctive dimensions of the clash between community-led and institutional archaeology, which dominated national discourse on authenticity and identity. At the same time, the prospects of economic development through tourism in such remote areas encouraged local receptiveness to the revival of ancient theatres.
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Przybyłek, Monika. "Sanktuarium Asklepiosa w Epidauros." Collectanea Philologica 14 (January 1, 2011): 105–18. http://dx.doi.org/10.18778/1733-0319.14.09.

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The article brings up the topic of ancient sanctuary of Asclepius in Epidauros, the biggest health centre in ancient Greece. However, enclosing its function to religious and health centre would be huge misunderstanding. Asklepieion was real centre of social and political life. The article discusses multipurpose of sanctuary by analysis of function of the most important buildings in the complex. Furthermore, in sanctuary, there were used contemporary methods of medicine: minor operations, hydrotherapy and treatment by art. Additionally, the theatre could take special place in process of healing. In Conclusion, the worship of Asclepius wasn’t eliminate development of science, but contrarily, both of its aspects coexisted together.
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Psarras, Sotirios, Panagiotis Hatziantoniou, Mercury Kountouras, Nicolas-Alexander Tatlas, John N. Mourjopoulos, and Dimitrios Skarlatos. "Measurements and Analysis of the Epidaurus Ancient Theatre Acoustics." Acta Acustica united with Acustica 99, no. 1 (2013): 30–39. http://dx.doi.org/10.3813/aaa.918585.

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Antoniou, Michaela. "Aristophanes’ The Birds, the Epidaurus Festival, and the Onassis Cultural Centre." New Theatre Quarterly 34, no. 3 (2018): 272–82. http://dx.doi.org/10.1017/s0266464x18000258.

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In this article, Michaela Antoniou offers a close analysis of Nikos Karathanos's 2016 production of Aristophanes’ The Birds, which was staged at the Epidaurus Festival with the support of the Onassis Cultural Centre. She argues that the context embodies Eric Hobsbawm's concept of the ‘invented tradition’, and examines its often problematic relation to the Centre, which, as a powerful and economically independent organization, occupies a dominant position in the field of theatre in Greece. The essential parameters and scope of Karathanos's performance aesthetics are analyzed through the lens of Michel Foucault and Kornelius Kastoriadis, while attention is also given to the media discourse surrounding the work. Finally, the article historicizes Karathanos's The Birds in relation to Koun's renowned 1959 production in order to examine Karathanos's intention to interpret the play as a production for his and our time. Michaela Antoniou is Teaching Fellow in Acting at the National and Kapodistrian University of Athens. She is also an actress, playwright, author, and translator, and has previously published articles on the work of Karolos Koun.
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Lignou Tsamantani, Ariadni. "Re-ghosting the ‘haunted stage’: The Epidaurus Festival and the resignification of (theatre) space." Journal of Arts Writing by Students 3, no. 1 (2017): 27–36. http://dx.doi.org/10.1386/jaws.3.1-2.27_1.

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Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continents. On the art-history front, I've gazed at more paintings and sculptings than I can readily organize in memory. But my strongest meetings with “history” have been at the cusp of the past and present—living events always already changing as they are (re)performed. This has been the core of my “anthropology-meets-theatre” work whether among the Yaquis of Arizona, at the Ramlila of Ramnagar in India, in the highlands of Papua–New Guinea, at Off-Off Broadway in New York, in the interior of China, and at very many other events in a wide variety of places.
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Trubotchkin, Dmitry. "The Iliad in Theatre: Ancient and Modern Modes of Epic Performance." New Theatre Quarterly 30, no. 4 (2014): 379–90. http://dx.doi.org/10.1017/s0266464x14000712.

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In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming).
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8

Chatziprokopiou, Marios. "FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!" Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (2021): 151–82. http://dx.doi.org/10.32621/acotaciones.2021.46.06.

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We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.
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Books on the topic "Epidaurus Theater (Epidaurus)"

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Bauurkunden und Bauprogramm von Epidauros: (350-300) : Abaton, Kleisia, Aphroditetempel, Artemistempel, Theater, Epidoteion, épì Kynòs skanámata. Verlag C.H. Beck, 2022.

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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. ISP (International Sport Publications), 2004.

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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. ISP (International Sport Publications), 2004.

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Savas, Gogos, ed. Epidauros: To archaio theatro, hoi parastaseis. Ekdoseis Milētos, 2002.

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Epidaurus encounters: Greek drama, ancient theatre and modern performance. Parodos, 2011.

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Kapelōnēs, Kōstēs Z. Theatro Technēs Karolou Koun, Epidauros 1985-1998: 17 parastaseis, 63 philms, 14 chronia, 1985 phōtographies. Theatro Technēs, 2019.

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7

Dilg, Bruce. Theatre at Epidaurus, Greece: An Acoutical Marvel. Independently Published, 2020.

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8

Daugherty, Hailie. Photo Book of Epidaurus Theatre: An Album Consist of Compelling Photos Collection of Epidaurus Theatre with High Quality Images As a Special Gift for Friends, Family, Lovers, Relative. Independently Published, 2022.

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Book chapters on the topic "Epidaurus Theater (Epidaurus)"

1

"16. From Epidaurus to the BackSpace at Passe Muraille: Hard Seats, Real Theatre." In In Defence of Theatre. University of Toronto Press, 2016. http://dx.doi.org/10.3138/9781442630819-019.

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