Akadēmiskais centrs
8. un 9. novembrī
plkst. 10.30–14.00 402. auditorijā vieslektore no Kipras Atklātās universitātes Teātra studiju maģistra programmas asociētā profesore AVRA SIDIROPULU lasīs lekciju un vadīs praktiskās nodarbības 8. XI 10.30 lekcijas tēma:
STAGING GREEK TRAGEDY TODAY: ADAPTATION, UPDATING AND RE-WRITING
8. XI 12.30–14.00
9. XI 10.30–14.00
Praktisko nodarbību tēma:
DIRECTING CHALLENGES IN AESCHYLUS’ THE ORESTEIA ______
LECTURE
STAGING GREEK TRAGEDY TODAY: ADAPTATION, UPDATING AND RE-WRITING For the past few decades, performances of Greek tragedy have become the locus of contention regarding the need for as well as future viability of ‘straight’ directorial readings. The heated debate raised annually at major international festivals on whether ‘solid’ versions of the Greek plays are in any way preferable to more adventurous adaptations is a reflection of artists’ and audiences’ broader ambivalence towards the “great narratives,” in general. While most directors staging Greek tragedy are always confronted with the ancient, fixed, and, in a sense no longer retrievable reality of antiquity, they also carry knowledge and experience of the plastic (to quote Roland Barthes) fragmentary present, which forces upon practitioners as well as spectators a different set of hermeneutic criteria. This lecture investigates some of the major issues that relate to revisionist productions of Greek tragedy –featuring artists such as Tadashi Suzuki, Anne Bogart, Katie Mitchell, Krzysztof Warlikowski, Oskaras Korsunovas or theatre collectives such as Rimini Protokoll— carry within them the paradox of a conflicting desire to remember and to change, to revive and to bury. WORKSHOP
DIRECTING CHALLENGES IN AESCHYLUS’ THE ORESTEIA A Practical Workshop Working in groups, students will be encouraged to provide their own interpretations of Aeschylus’ trilogy The Oresteia by examining some of the reasons, means, processes and relationships that are involved in staging a Greek tragedy play today. We will work on select scenes from the play and discuss the directorial concept that defines their relationship to the original source. The feedback session will address essential elements that permeate the work of the director in the theatre, such as point-of-view, space dynamics, atmosphere and rhythm. The students are expected to have read The Oresteia beforehand, to be better prepared for the workshop.
Αvra Sidiropoulou
Assistant Professor (M.F.A. Columbia, M.Phil. Cambridge, M.A. King's CL, Phd Thess.)
M.A. Programme in Theatre Studies
Open University of Cyprus
plkst. 10.30–14.00 402. auditorijā vieslektore no Kipras Atklātās universitātes Teātra studiju maģistra programmas asociētā profesore AVRA SIDIROPULU lasīs lekciju un vadīs praktiskās nodarbības 8. XI 10.30 lekcijas tēma:
STAGING GREEK TRAGEDY TODAY: ADAPTATION, UPDATING AND RE-WRITING
8. XI 12.30–14.00
9. XI 10.30–14.00
Praktisko nodarbību tēma:
DIRECTING CHALLENGES IN AESCHYLUS’ THE ORESTEIA ______
LECTURE
STAGING GREEK TRAGEDY TODAY: ADAPTATION, UPDATING AND RE-WRITING For the past few decades, performances of Greek tragedy have become the locus of contention regarding the need for as well as future viability of ‘straight’ directorial readings. The heated debate raised annually at major international festivals on whether ‘solid’ versions of the Greek plays are in any way preferable to more adventurous adaptations is a reflection of artists’ and audiences’ broader ambivalence towards the “great narratives,” in general. While most directors staging Greek tragedy are always confronted with the ancient, fixed, and, in a sense no longer retrievable reality of antiquity, they also carry knowledge and experience of the plastic (to quote Roland Barthes) fragmentary present, which forces upon practitioners as well as spectators a different set of hermeneutic criteria. This lecture investigates some of the major issues that relate to revisionist productions of Greek tragedy –featuring artists such as Tadashi Suzuki, Anne Bogart, Katie Mitchell, Krzysztof Warlikowski, Oskaras Korsunovas or theatre collectives such as Rimini Protokoll— carry within them the paradox of a conflicting desire to remember and to change, to revive and to bury. WORKSHOP
DIRECTING CHALLENGES IN AESCHYLUS’ THE ORESTEIA A Practical Workshop Working in groups, students will be encouraged to provide their own interpretations of Aeschylus’ trilogy The Oresteia by examining some of the reasons, means, processes and relationships that are involved in staging a Greek tragedy play today. We will work on select scenes from the play and discuss the directorial concept that defines their relationship to the original source. The feedback session will address essential elements that permeate the work of the director in the theatre, such as point-of-view, space dynamics, atmosphere and rhythm. The students are expected to have read The Oresteia beforehand, to be better prepared for the workshop.
Αvra Sidiropoulou
Assistant Professor (M.F.A. Columbia, M.Phil. Cambridge, M.A. King's CL, Phd Thess.)
M.A. Programme in Theatre Studies
Open University of Cyprus