THEORY COURSES
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Introduction to Drama and Theatre Studies. Focusing on the theatrical performance, we explore the multiple facts and ingrediants of the art of the theatre (text, space, collaborating and audience)
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The analysis and critical commentary of theatrical performances, with the aim being to clarify the always unique directorial approach, but, also, more generally, to understand the codes of theatre language and theatrical aesthetic issues.
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An introduction to the study of dramatic text and familiarization with its components: myth, characters, dramaturgical techniques and the theme of the play will be studied, while the concept of theatrical genres will be discussed. The course analyzes theatrical texts from the world repertoire, with the aim of establishing a method of approaching the text, instead of the memorization of specific plays.
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The course is the second class on text analysis, emphasising on critical approaches applied on dramatic texts and the construction of dramatic character. Issues related to performance, genre and historical context are also discussed. Texts examined for spring semester 2012-2013 are: Shakespeare, Hamlet; Müller, Hamletmachine; Ibsen, A Doll’s House; Strindberg, Miss Julie. During the course, there are will be two writing exercises on issues discussed and distributed in advance to the students.
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An outline of the development of Greek drama and theatre (1600-1900). The study of the conditions that led from the theatrical activity of Greek speaking communities to the emergence a national theatre and the establishment of a professional stage in the modern Greek State.
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An outline of the main trends of the period (1890-1960): the attempts of renovation of the Modern Greek drama (in connection with the reception of European Realism and Symbolism); Modern Greek dramatic theory and criticism of the era; the attempts of modernization of the Greek theatre: Royal Theatre (1901-1908), New Stage (1901-5), National Theatre (1930-), Karolos Koun’s Art Theatre (1943-) and star-system; the formation and development of the Greek shadow theatre (Karaghiozis) and the dominance of musical theatre Revue and Operetta; the revival of ancient Greek drama in Modern Greece
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Ancient drama and, more broadly, the Antiquity form a crucial parameter in the theatrical, educational and ideological construction of modern Greek culture. The introductory section of the course, focusing on questions of reception in Europe and Greece, aims at questioning the pseudo-scientific presumptions about ancient drama that have come to be considered as historically sound in Greece: students are thus able to reflect on these presumptions and gradually acquire a more thorough scholarly understanding of the issues involved. Through the analysis of specific plays (those related to the Atreides myth), students are able to distance themselves from outdated and idealistic reading of heroes and actions, and orientate themselves towards contemporary, political and historical approaches. The course concludes with introductions to ancient comedy, hellenistic theatre and roman theatre.
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Following Theatre of Antiquity I and concluding the core courses on ancient drama, this course aims at broadening and deepening the students’ comprehension of ancient Greek tragedy, emphasizing a) the tragic treatment of the “heroic” and the political dimension of the plays (Ajax, Trachiniae, Herakles) and b) the diversity and multiplicity of interpretations, so that the students understand the construction processes of both theoretical and theatrical reception of tragedy. Reception is further explored by an overview of the reception of Sophocles’ Electra within classical studies as well as the European theatre. A close reading of the Antigone aims at undermining the un-historical and dogmatic stereotypes, which abound in secondary education, and providing sound and effective reading and teaching tools for the play. The final unit on comedy and satyric drama rounds up the students’ basic knowledge on ancient drama and its genres.
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The course as the first of a five-course cycle on theatre history primarily aims at: a. discussing the developments in world theatre from the beginnings to the Renaissance, and b. introducing students to the research and methodology of theatre history and historiography. Therefore, among the objectives of the course is not only to disseminate knowledge on theatre art as evolved in different countries, cultures and ages but also to provide students with the scientific tools to analyse historical change, cultural practices and artistic creation in order to understand and gradually apply the methods of theatre history as an academic discipline.
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As a follow up of History of World Theatre I, the course examines the Golden Age of theatre in Spain. Then, the focus is on European dramaturgy in the 17th and 18th century. On the one hand, we follow the development of theatre, as an art form and a social phenomenon, during the eras of neoclassicism and the Enlightenment; on the other, we analyze representative plays from each century and each country discussed (Lope de Vega, Racine, Moliere, Marivaux, Goldoni etc).
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The course- which is a continuation of “History of the World Theater II”- examines the developments of World Theater during the 19th century (Romanticism, “Well-made play”, “Problem play”, Realism, Naturalism, emergence of the director etc). Particular emphasis will be given to the study of representative dramas from Goethe to Chekhov.
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This lecture offers to the student an introduction to the concept and the development of Modernism and the ‘historical Avant-Garde’ in European theatre from early 1880s up to late 1930s: the traditions of Realism, Symbolism, Expressionism and Surrealism as well as other influential movements (from Futurism and Dada in the early 20th century up to the Epic Theatre).
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An overview of the act of performance during the second half of the 20th century, looking at theatre as the “great stage game”, as a series of exchanges “between a text and a performance, between actors and a director, between a stage and an audience, between a theatre and a society” (Bernard Dort).
What, after all, is the history of theatre? Methodological concerns. The relationship between the history of theatre and history as a whole. The connection between postwar theatre and theatre’s previous eras. Theatrical troupes and workshops. Directorial trends. Dramaturgical analysis of the great works of Sartre, Williams, Arthur Miller, Brecht, Beckett, Ionesco, Pinter, Albee, Bernhard, Heiner Muller, Koltès, Kane. The course focuses, also, on the crisis in drama by studying the works of contemporary drama as well as postdramatical performances: the crisis of the dramatic character, the myth, the plot. Post-dramatic theatre – Performance art – happenings – dance theatre.
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The main objective of this course is to initiate the students to theoretical approaches to theatre. Through the study of selected texts, one realizes that both in this phase (ie from Aristotle to the end of the 19th century), as well as in subsequent ones, theatre theory is written a. by playwrights and b. by all kinds of thinkers, who examine the esthetic, moral and social impact of theatre.
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An overview of significant theoretical texts from the emergence of Realism through Brechtian theatre.
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In this course the history and evolution of contemporary civilization is examined through the art, mainly painting, sculpture and architecture, in Europe of the 19th and 20th centuries. An emphasis is given to the avant guard movements of the beginning of the 20th century.
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Lectures on the evolution of the architecture of theatres, in conjunction with the evolution of building techniques and technology as well as the architectural movements in relation to the corresponding theatrical developments. Each lecture is supported with rich visual material.
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The aim of this compulsory course is to introduce students to basic methodological and ethical principles of academic writing. How does one compile a decent research bibliography? How does one distinguish between a primary and a secondary source, and which are the correspondent research paths designated by the type of source one chooses to prioritize? What systems of citation are there in operation? Is it necessary to plan ahead in academic writing through the composition of a thesis outline, etc.? What is plagiarism and how does one avoid it?
THEATRE IN EDUCATION COURSES
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The history of children’s theatre in Greece and abroad. The different genres of theatre for children. Approaching the different kinds of children’s theatre through the study of the composition of theatrical works. Theoretical opinions regarding children and theatre, and the critical approaches of corresponding theatrical productions. Exercises in creative writing.
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In this subject socio-psychological phenomena are presented, as they may be observed within small human groups. Theoretical models as well as animation method, aiming at the development of the group dynamics, are discussed. The comparative study of theoretical and methodological references (field theory, leadership, training groups, encounter groups, psychodrama, socio-drama, psychoanalytical approaches) goes with projects and initiation work -shops proposed to the students.
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The aim of this course is to present the theoretical and methodological principles of the new student-centered interactive pedagogy, as pitted against the old, teacher-centered pedagogics. Pedagogical intervention is discussed in its two basic components; first, as regards the content of student-tutor interaction (subjects of study, school curricula etc.), subsequently, as regards the techniques of student encouragement, at the same time keeping an eye on the meta-pedagogical dimension of pedagogy.
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The course is two-fold: activities and techniques are combined with the design and implementation of a TiE project. The course includes extra studio work, focusing on music, clown-techniques, programmes for students with special needs etc, which is supervised by external specialized animators.
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Theory and practice of Dramatization. Dramatization in Primary and Secondary Education: an autonomous artistic course and an instrument for teaching a variety of subjects. The importance of Dramatization with groups facing communication and language problems
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After the successful completion of the course, students are capable of conceiving, designing and implementing TiE projects in Primary and Secondary Education. They also acquire the necessary skills to design and implement related projects in special education schools (e.g. school for the deaf) and other institutions (e.g. public libraries, orphanages etc).
ARTS COURSES
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The course falls within the discipline of theatrical implementations, including theatrical pedagogics. The course introduces the students in the basic principles, methods and materials of the stage and costume design, theatre architecture and stage technology. It also instructs the students the constuction of three dimensional working model, mask and props. These skills are imperative in the implementation of theatrical-pedagogical plans as they are directly related to their artistic overview (construction of props, scenery and costumes), as well as to the overall aesthetic culture of students .
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The main goal of this introductory course is to familiarize students with the basic elements of rehearsing and acting. Through exercises and improvisations, students become acquainted with the essence of acting, its tools and training methods. In parallel, the course prepares students for the collaborative work, interaction and interdependence, the stage requires. Finally, it promotes team work, discipline and creativity as fundamental means for acting.
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First contact and familiarization with stage directing. Exercises in the different stage ‘languages’. Dramaturgy and stage narration.
FOREIGN LANGUAGE COURSES
English, French, German, Italian
