Archive of Future Performances

In the frame of the third VENICE INTERNATIONAL PERFORMANCE ART WEEK, "FRAGILE BODY - MATERIAL BODY", [mind the] G.A.P. - Gathering Around Perfomance presented the section THE DREAM OF ANTIGONE :: Performance Art In Greece Between The Seventies And Today. The section aimed at offering a look, albeit partial, however significant at the Greek art scene in relation to performance art. Presenting both artists who made performances since the early ‘70s, and artists who practice performance art today, the “Dream” showed a reflection on the meaning that this art form takes in our historic present, also in relation to social and cultural needs which caused its onset and development in the twentieth century. The title of this section was inspired by Sophocles’ tragedy, in which Antigone represents the voice of the weakest, affirming that the Polis laws has to be based on humanitarian principles, sharable by all. The SMCA (State Museum of Contemporary Art, Thessaloniki), partecipated in the project as a collaborative supporter. THE AUTHOR IS WORKING ON THE EDITION OF A CATALOGUE ON THE EVENT.

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Πρακτικά B’ Διεθνούς Kυπρολογικού Συνεδρίου, A’ ( Λευκωσία 1985),415-422, πίν. I-III., 1985

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Classical Review, 2023

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Eva Palmer-Sikelianos (1874–1952), along with her husband, the poet Angehlos Sikelianos, founded the first modern Delphic Festival in 1927 in an effort to revive the Ancient Greek rites that took place on that spot over 2,500 years before. She invited " overseers of culture " from around the globe to convene in the holy city of Delphi for a reenactment of the performance of Pro-metheus Bound by Aeschylus in the ancient amphitheater, an Olympic-styled athletic contest, and an exhibition of Greek crafts. This paper explores Palmer-Sikelianos's choreography, music and dramaturgy for her reconstructed Prometheus Bound in light of her own research on ancient Greek culture and our modern theories of historical reenactment. Based on silent film records of Palmer-Sikelianos's 1930 festival, her own autobiography, her collaborations with Natalie Barney on Greek-themed theatricals in the early 1900s, and comparisons to the movement vocabulary and other contemporary stagings of ancient Greek festivals and sport, I demonstrate how Palmer-Sikelianos blended the oldest sources on ancient Greek ritual music and dance that she could find with what she saw as an authentic " spirit " of Greek culture as observed in modern Greek society. Compared to the Ballets Russes's reenactment of ancient Greece, Palmer-Sikelianos's project to reenact " authentic " Greek theater and choreography illustrates that theories of theatrical historical reconstruction in the early twentieth century were heavily influenced by contemporary theatrical, political, and social events. And like the Fokine and Nijinsky models, Palmer-Sikelianos's staging redefines ancient dance through the prisms of ancient sources and modern aesthetics.

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2015

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2015

Storytelling is one of the most important performing arts, which began to attract theater practitioners, and because the audience is the main target for the storytelling as is the case in all the performing arts the success of the narrator in communicating with the audience is one of the biggest challenges that occur to the creator of storytelling performance. If the traditional theater has a number of elements and components that facilitate the communication process, such as Scenery, lighting, costumes, and other items that can help to attract the audience during the play; the storytelling performance depends mainly on the story, and the narrator, and even if some elements such as songs or music have been used, the success of the communication process between the audience and the performance depends on the quality of the written story, as well as the quality of the performing, which consider the sole guarantee to express the story. Therefore, this study aims to view the most import...

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Lina Stergiou, ed., Revelation (Athens: Cultural Olympiad 2001-2004, 2003), English, 520 pages. ISBN 960-7980-49-2 , 2003

ATHENS D.O.E.S. competition Ephemeral Structures in the City of Athens, organized by the Hellenic Culture Organization S.A. in the context of the Cultural Olympiad 2001-2004, indicates a current political speculation on the city. For no less than four decades a lack of investment, research and discussion on the built environment had as a cause and at the same time as side effect a long-lasting hostile but also ambivalent feeling towards the built environment with which individuals could not justify and even more be identified with. The negative engagement with the city coexisted with the aspiration to metaphorically wipe out the city with one stroke, namely, with a political desire to radically eliminate from the capital its dysfunctional character that, however, remained suspended up to 2003. The detection of a different research approach to the city through the Cultural Olympiad 2001-2004 uncovers a possible beginning of amends. Ephemeral Structures in the City of Athens competition in 2003 aspires to tackle anew the issue of Athens and create narratives by focusing on reality, recognizing the inherent characteristics of the city and find a norm to construct identities. The notion of ephemerality and parasitism as main axes of Athens-scape interpretation puts on the table the parameter of time and endeavors to conceptualize the always-in-process, mutable and frenzied character of the city. By strengthening this side of reality and even more forcing it to become a new model - decent, uncontaminated, clearly defined - even if this prescribes the opposite - chaos, disfiguration - good and moral character is automatically encapsulated and offers a true love object choice to Athenians, a positive mirror reflection to individual and collective identity. ‘Revelation’ is the third volume in the series of four of Athens D.O.E.S. competition. Unlike the first two that included theoretical and hermeneutical texts, the present tome reveals the actual projects, the response of the participants to the diversity of thematics and given concepts. Four hundred and sixty-one entries by architects of different countries and cultures responded to the Athenian toposcape, articulated small structures for the city of Athens, and proposed scenarios of social performance and interactions through territorial strategies. OUT OF CIRCULATION

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