- Theatre History, Theatre, Art History, Puppet Theatre, Puppetry, Puppetry as an Art Form, and 66 moreShadow Theatre, Folk and Fairy Tales, Folk arts, Folk Theatre, Performance Art, Theatre Studies, Ethnography, Museum Collections (Research), Theatre and puppetry, Karagiozis, Karaghiozis and Karagöz, Traditional Ottoman-Turkish Drama (karagöz, Ortaoyunu), Personal Narrative (Social and Cultural Anthropology), Narrative, Oral history, Greek shadow theatre, Cyprus Studies, Archives, Communication Of Memory In Archives, Libraries And Museums, Collaboration Of Archives, Libraries And Museums, Playwriting, Performing Arts, Performance Studies, Performance Theory, Greek Comedy, Cultural Heritage, Greek Theatre, Call for Papers, Modern Greek Theatre, Ancient Greek and Roman Theatre, Political theatre, Rembetiko, • Popular culture and rebetiko, Rebetika, Diaspora Studies, Greek Diaspora, Italian Theatre, Fairy tales, Orality and Writing, Cultural Heritage Cultural Memory Cultural Studies Folk legends Folklore Folktales History of Folklore Theory and Method Identity (Culture) Languages Mythology, Folklore, Syros, Smyrna, Konstantinopolis, Turkish Theatre, Pre-Cinema, Pre-Cinema/Early Cinema, Human Geography, Islamic Art, Ottoman Culture and History, History of Eastern Meditteranean Port Cities, Mediterranean Studies, Ottoman History, Mediterranean, Memory Studies, Cultural History, Roberto Leydi, Cultural Studies, Audience and Reception Studies, Audience Studies, Ottoman Janissaries, Sociology, Ottoman Empire, Istanbul, Constantinople, Research Methodology, Social Sciences, and Ottoman Cyprusedit
Research Interests:
Αυτή η μονογραφία προάγει τη σχετική με το θέατρο σκιών έρευνα με τρόπο αποφασιστικό σε δύο τομείς: στο θέμα της καταγωγής και της εξέλιξης του θεάτρου σκιών στην ανατολική Μεσόγειο και στο θέμα της σημερινής ύπαρξης και απήχησής του στην... more
Αυτή η μονογραφία προάγει τη σχετική με το θέατρο σκιών έρευνα με τρόπο αποφασιστικό σε δύο τομείς: στο θέμα της καταγωγής και της εξέλιξης του θεάτρου σκιών στην ανατολική Μεσόγειο και στο θέμα της σημερινής ύπαρξης και απήχησής του στην Ελλάδα. Ξεκινώντας από τα ίχνη του στο Κάιρο (γύρω στο millennium του 1000), περιηγούμαστε στη χιλιετή ιστορία αυτής της μορφής θεατρικής δραστηριότητας στην ευρύτατη γεωγραφική έκταση: παρακολουθούμε τη σταδιακή μεταφορά και συνέχιση στον Βόσπορο, την επιβίωση μέσα στα (εναλλασσόμενα) όρια της οθωμανικής αυτοκρατορίας, τον εξελληνισμό και την τεράστια άνθηση στην Ελλάδα του πρώτου μισού του 20ού αιώνα και τη δυναμική πορεία προς το μέλλον.
Περιεχόμενα
Πρόλογος
Βάλτερ Πούχνερ, Χίλια χρόνια θέατρο σκιών στην ανατολική Μεσόγειο και στη Βαλκανική Χερσόνησο
Η αναστήλωση της ιστορίας του Αιγυπτιακού θεάτρου σκιών
Το Οθωμανικό θέατρο σκιών
Ο εικοστός αιώνα: μεταρρυθμίσεις και εξελίξεις (Τουρκία, Ελλάδα)
Ανθή Γ. Χοτζάκογλου. Το Ελληνικό θέατρο σκιών (Καραγκιόζης)
Οι πρώτες μαρτυρίες για το θέατρο σκιών στην Ελλάδα
Ανταγωνιστικά θεάματα: Ανδρείκελα και Μαριονέτες
Εξελληνισμός του θεάτρου σκιών
Εξέλιξη σκηνικών μέσων και τεχνικά επιτεύγματα
Η μουσική στο θέατρο σκιών
Ακμή του θεάματος. "Πιάτσες" των καραγκιοζοπαικτών
Θέατρο σκιών στην Κύπρο
Αφύπνιση των πνευματικών κύκλων
Η συμβολή του Α. Μόλλα
Θέατρο σκιών και δισκογραφία
Η συνεισφορά των Μικρασιατών προσφύγων
Έντυπο θέατρο σκιών
Θέατρο σκιών και εικαστικά
Θέατρο σκιών και γελοιογραφία
Θέατρο σκιών και κινηματογράφος
Θέατρο σκιών και ραδιόφωνο
Θέατρο σκιών και τηλεόραση
Θέατρο σκιών και διασκεδάσεις
Θέατρο σκιών και εκπαίδευση
Θέατρο σκιών και εκπαίδευση
Θέατρο σκιών και εμπορικά προϊόντα
Εκσυγχρονισμός του θεάτρου σκιών / Αλλοιώσεις του θεάματος
Πίνακες
Κατάλογος προέλευσης εικόνων και πινάκων
Επιλογή βιβλιογραφία
Ευρετήρια
Προσώπων - ονομάτων
Τίτλων
Τοπωνυμίων
Πραγμάτων - εννοιών
Περιεχόμενα
Πρόλογος
Βάλτερ Πούχνερ, Χίλια χρόνια θέατρο σκιών στην ανατολική Μεσόγειο και στη Βαλκανική Χερσόνησο
Η αναστήλωση της ιστορίας του Αιγυπτιακού θεάτρου σκιών
Το Οθωμανικό θέατρο σκιών
Ο εικοστός αιώνα: μεταρρυθμίσεις και εξελίξεις (Τουρκία, Ελλάδα)
Ανθή Γ. Χοτζάκογλου. Το Ελληνικό θέατρο σκιών (Καραγκιόζης)
Οι πρώτες μαρτυρίες για το θέατρο σκιών στην Ελλάδα
Ανταγωνιστικά θεάματα: Ανδρείκελα και Μαριονέτες
Εξελληνισμός του θεάτρου σκιών
Εξέλιξη σκηνικών μέσων και τεχνικά επιτεύγματα
Η μουσική στο θέατρο σκιών
Ακμή του θεάματος. "Πιάτσες" των καραγκιοζοπαικτών
Θέατρο σκιών στην Κύπρο
Αφύπνιση των πνευματικών κύκλων
Η συμβολή του Α. Μόλλα
Θέατρο σκιών και δισκογραφία
Η συνεισφορά των Μικρασιατών προσφύγων
Έντυπο θέατρο σκιών
Θέατρο σκιών και εικαστικά
Θέατρο σκιών και γελοιογραφία
Θέατρο σκιών και κινηματογράφος
Θέατρο σκιών και ραδιόφωνο
Θέατρο σκιών και τηλεόραση
Θέατρο σκιών και διασκεδάσεις
Θέατρο σκιών και εκπαίδευση
Θέατρο σκιών και εκπαίδευση
Θέατρο σκιών και εμπορικά προϊόντα
Εκσυγχρονισμός του θεάτρου σκιών / Αλλοιώσεις του θεάματος
Πίνακες
Κατάλογος προέλευσης εικόνων και πινάκων
Επιλογή βιβλιογραφία
Ευρετήρια
Προσώπων - ονομάτων
Τίτλων
Τοπωνυμίων
Πραγμάτων - εννοιών
Research Interests:
Research Interests:
Research Interests:
A. Chotzakoglou, "The Greek and Turkish shadow and puppet theatre in the Greek communities in Constantinople, Smyrna (1817-1931/2) and Cyprus (1893-1931)", thesis, Department of Theatre Studies of University of Athens 2024.
Research Interests:
Α.Χοτζάκογλου,«Αντανακλάσεις της Ελληνικής Επανάστασης στο ελληνικό θέατρο σκιών (Καραγκιόζης): φαντασιακοί ήρωες ή ανδραγαθήματά τους στον μπερντέ, μέσα από το αρχείο του Κύπριου καραγκιοζοπαίκτη Γ.Ιδαλία»,Χ.Μηνάογλου(επιμ.),Η επανάσταση του 1821 στην Ιστορία και την Λογοτεχνία,Αθήνα 2024,233-248.more
Research Interests:
«Η παρουσία των μαγισσών στο Ελληνικό Θέατρο Σκιών (Καραγκιόζη) και η σχέση τους με το Παραμύθι» Στην παρούσα μελέτη παρουσιάζονται δημοφιλή και λιγότερο γνωστά δημιουργήματα καραγκιοζοπαικτών, στα οποία εντοπίζεται η μορφή της Μάγισσας.... more
«Η παρουσία των μαγισσών στο Ελληνικό Θέατρο Σκιών (Καραγκιόζη) και η σχέση τους με το Παραμύθι»
Στην παρούσα μελέτη παρουσιάζονται δημοφιλή και λιγότερο γνωστά δημιουργήματα καραγκιοζοπαικτών, στα οποία εντοπίζεται η μορφή της Μάγισσας. Μέσα από τη διερεύνηση του χαρακτήρα και της σκηνικής της απόδοσης τρομακτικών και κωμικών μαγισσών επιχειρείται η εύρεση των προτύπων των καραγκιοζοπαικτών και η σύνδεση των σεναρίων τους με το Παραμύθι, με βάση τη διεθνή κατάταξη παραμυθιακών τύπων κατά A. Aarne, St. Thompson, H.-J. Uther και την κατηγοριοποίηση μοτίβων κατά St. Thompson.
"Verhexte Schatten: zur Interpretation der Hexen im griechischen Schattentheater (Karagiozis) inspiriert von Märchen und Volkserzählungen"
Gegenstand unserer Forschung ist das Motiv der Hexe in bekannten, sowie in weniger verbreiteten Schattentheaterstücken, was Szenarien, Karagiozis-Vorfuehrungen und Reklamen betrifft. Durch die Erforschung der Charaktere und der Einrichtungen der Bühne der schrecklichen oder lustigen Hexen werden die Vorbilder von Karagiozis-Spielern mit Motiven aus der Volksmärchenliteratur identifiziert. Die Verbindung zwischen Karagiozis und Märchen folgt der internationalen Klassifizierung der Märchentypen von A. Aarne, St. Thompson, H.-J. Uther und der Märchenmotiven von St. Thompson.
Στην παρούσα μελέτη παρουσιάζονται δημοφιλή και λιγότερο γνωστά δημιουργήματα καραγκιοζοπαικτών, στα οποία εντοπίζεται η μορφή της Μάγισσας. Μέσα από τη διερεύνηση του χαρακτήρα και της σκηνικής της απόδοσης τρομακτικών και κωμικών μαγισσών επιχειρείται η εύρεση των προτύπων των καραγκιοζοπαικτών και η σύνδεση των σεναρίων τους με το Παραμύθι, με βάση τη διεθνή κατάταξη παραμυθιακών τύπων κατά A. Aarne, St. Thompson, H.-J. Uther και την κατηγοριοποίηση μοτίβων κατά St. Thompson.
"Verhexte Schatten: zur Interpretation der Hexen im griechischen Schattentheater (Karagiozis) inspiriert von Märchen und Volkserzählungen"
Gegenstand unserer Forschung ist das Motiv der Hexe in bekannten, sowie in weniger verbreiteten Schattentheaterstücken, was Szenarien, Karagiozis-Vorfuehrungen und Reklamen betrifft. Durch die Erforschung der Charaktere und der Einrichtungen der Bühne der schrecklichen oder lustigen Hexen werden die Vorbilder von Karagiozis-Spielern mit Motiven aus der Volksmärchenliteratur identifiziert. Die Verbindung zwischen Karagiozis und Märchen folgt der internationalen Klassifizierung der Märchentypen von A. Aarne, St. Thompson, H.-J. Uther und der Märchenmotiven von St. Thompson.
Research Interests:
Research Interests:
Χοτζάκογλου,«Ο Καραγκιόζης νικητής ψευδολογίας:1 ακατάγραφη συνδιάλεξη του Ε.Θ.Σ. με το Παραμύθι μέσα από το παράδειγμα επιβιώσης των παραμυθιακών τύπων Aarne–Thompson-Uther 852,1920,1960D/G σε παραστάσεις Καραγκιόζη»,Πρακτικά Στ΄ Πανελληνίου Θεατρ/κού Συνεδρίου Ναύπλιο 2017,Αθήνα 2021,313-33 (τ.Β).more
Greek shadow theatre (Karaghiozis) is full of cases around lying. Comic protagonist Karaghiozis usually lies about everything to everyone. However, this essay focuses in versions of two differentiated stories, presenting victories he wins... more
Greek shadow theatre (Karaghiozis) is full of cases around lying. Comic protagonist Karaghiozis usually lies about everything to everyone. However, this essay focuses in versions of two differentiated stories, presenting victories he wins in contests in lying: Pumpkin tree (contest between him and his friend Hatjiavatis) and Lies to Pasha (contest organized by Pasha, aiming at getting him to say “that is a lie”). Researching above stories’ model, not only similar scene at Turkish shadow theatre (Karagöz) is traced but similar plots in folk tale, listed as ATU 1920 and 1960D/G, as well. Exempla of Turkish and Greek (un)published folk tales deriving from Minor Asia, are also presented, shedding light on paths that folk artists may have followed.
Research Interests:
Research Interests:
Research Interests:
Α.Χοτζάκογλου,«Αρχείο Αθανάσιου Φωτιάδη: μια μικρή κιβωτός Θεάτρου Σκιών», Αλ. Αλτουβά (επιμ.), Πρακτικά Επετειακού συνεδρίου για τα 20 χρόνια λειτουργίας του Π.Μ.Σ. του Τμήματος Θεατρικών Σπουδών ΕΚΠΑ, «Πηγές της έρευνας στη σύγχρονη ελληνική θεατρολογία», Αθήνα 27-29/04/2017, Αθήνα 2021, 619-644.more
Από το σύμπαν των θεατρικών αρχείων και συλλογών δεν θα μπορούσε να απουσιάζει το θέατρο σκιών, καθώς μάλιστα εμπεριέχει εν σπέρματι ευρύ σύνολο τεχνών. Στο θέατρο και τη λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ... more
Από το σύμπαν των θεατρικών αρχείων και συλλογών δεν θα μπορούσε να απουσιάζει το θέατρο σκιών, καθώς μάλιστα εμπεριέχει εν σπέρματι ευρύ σύνολο τεχνών.
Στο θέατρο και τη λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ Κωνσταντινουπόλεως νομικός και λογοτέχνης Αθ. Φωτιάδης (1921-1989), δημιουργώντας ένα ογκώδες σχετικό αρχείο. Ιδιαίτερη θέση στη συλλογή του καταλάμβανε το μικροθέατρο και κυρίως το θέατρο σκιών. Το αρχείο Αθ. Φωτιάδη, που υπέστη διαδοχικές εκκαθαρίσεις, ενσωματώθηκε πλέον σε συλλογές διαφορετικών φορέων και ιδιωτών. Το τμήμα του, που βρίσκεται σήμερα στο αρχείο της υποφαινόμενης, θα παρουσιαστεί εδώ.
Πρόκειται για αρχείο αποτελούμενο σε γενικές γραμμές από υλικό πατρότητας άλλων (πηγών και μελετών), που συνέλλεγε ο συγγραφέας και υλικό πρωτογενές, που παρήγαγε ο ίδιος. Στη συλλογή περιλαμβάνονται τόσο έντυπα, όσο και χειρόγραφα, δακτυλόγραφα αλλά και οπτικοακουστικό υλικό. Από τη μελέτη της εξάγονται συμπεράσματα θεατρολογικού και κοινωνιολογικού ενδιαφέροντος, καθώς το αρχείο Αθ. Φωτιάδη αποτελεί μία τριπλή παρακαταθήκη στους ερευνητές των επόμενων χρόνων: συνιστά αφ’ ενός ένα είδος άγραφων απομνημονευμάτων του συγγραφέα, αντιπροσωπευτικό της ερευνητικής και συγγραφικής περιπέτειας, αφ’ ετέρου προσφέρει ατόφιο το πρωτογενές του έργο προς κρίση και μελέτη, αλλά παράλληλα συνιστά και μια κιβωτό στοιχείων που χάρη σε εκείνον διέφυγαν της λήθης, και αφορά σε καραγκιοζοπαίκτες -με δράση κυρίως κατά τις δεκαετίες 1960, ’70 και ’80- και τις αναμνήσεις τους.
Στο θέατρο και τη λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ Κωνσταντινουπόλεως νομικός και λογοτέχνης Αθ. Φωτιάδης (1921-1989), δημιουργώντας ένα ογκώδες σχετικό αρχείο. Ιδιαίτερη θέση στη συλλογή του καταλάμβανε το μικροθέατρο και κυρίως το θέατρο σκιών. Το αρχείο Αθ. Φωτιάδη, που υπέστη διαδοχικές εκκαθαρίσεις, ενσωματώθηκε πλέον σε συλλογές διαφορετικών φορέων και ιδιωτών. Το τμήμα του, που βρίσκεται σήμερα στο αρχείο της υποφαινόμενης, θα παρουσιαστεί εδώ.
Πρόκειται για αρχείο αποτελούμενο σε γενικές γραμμές από υλικό πατρότητας άλλων (πηγών και μελετών), που συνέλλεγε ο συγγραφέας και υλικό πρωτογενές, που παρήγαγε ο ίδιος. Στη συλλογή περιλαμβάνονται τόσο έντυπα, όσο και χειρόγραφα, δακτυλόγραφα αλλά και οπτικοακουστικό υλικό. Από τη μελέτη της εξάγονται συμπεράσματα θεατρολογικού και κοινωνιολογικού ενδιαφέροντος, καθώς το αρχείο Αθ. Φωτιάδη αποτελεί μία τριπλή παρακαταθήκη στους ερευνητές των επόμενων χρόνων: συνιστά αφ’ ενός ένα είδος άγραφων απομνημονευμάτων του συγγραφέα, αντιπροσωπευτικό της ερευνητικής και συγγραφικής περιπέτειας, αφ’ ετέρου προσφέρει ατόφιο το πρωτογενές του έργο προς κρίση και μελέτη, αλλά παράλληλα συνιστά και μια κιβωτό στοιχείων που χάρη σε εκείνον διέφυγαν της λήθης, και αφορά σε καραγκιοζοπαίκτες -με δράση κυρίως κατά τις δεκαετίες 1960, ’70 και ’80- και τις αναμνήσεις τους.
Research Interests:
Το ελληνικό θέατρο σκιών (Καραγκιόζης) συνιστά σημείο διασταύρωσης ποικίλων τεχνών. Δεν είναι λίγα τα έργα που έχουν αντλήσει εξ ολοκλήρου έμπνευση από το θέατρο, τη λογοτεχνία, το παραμύθι ή που σε στιγμιότυπά τους αναβιώνουν τα... more
Το ελληνικό θέατρο σκιών (Καραγκιόζης) συνιστά σημείο διασταύρωσης ποικίλων τεχνών. Δεν είναι λίγα τα έργα που έχουν αντλήσει εξ ολοκλήρου έμπνευση από το θέατρο, τη λογοτεχνία, το παραμύθι ή που σε στιγμιότυπά τους αναβιώνουν τα ξεχασμένα σήμερα πρότυπά τους. Απαραίτητο σύνεργο στην έρευνα του πεδίου αυτού αποτελούν σήμερα, δημοσιευμένα φυλλάδια Καραγκιόζη, ηχογραφημένες παραστάσεις και χειρόγραφα σενάρια, που βρίσκουν καταφύγιο σε ποικίλες ιδιωτικές ή ελάχιστες δημόσιες συλλογές.
Εστιάζοντας στο χειρόγραφο με τίτλο “Τα παλαιά χρέη”, προερχόμενο από τη γραφίδα του Πελοποννήσιου καραγκιοζοπαίκτη Βασίλαρου (Β. Ανδρικόπουλου), παρουσιάζεται ένα ακατάγραφο παράδειγμα δανειοδότησης του ελληνικού θέατρου σκιών από το παραμύθι. Πιο συγκεκριμένα, εξετάζεται η επιβίωση και ζύμωση στοιχείων των παραμυθιακών τύπων Αarne – Τhompson 921Α, 922Β και παραλλαγών του, όπως εντοπίζονται σε βιβλιογραφημένες και αδημοσίευτες ελληνικές συλλογές παραμυθιών.
Εστιάζοντας στο χειρόγραφο με τίτλο “Τα παλαιά χρέη”, προερχόμενο από τη γραφίδα του Πελοποννήσιου καραγκιοζοπαίκτη Βασίλαρου (Β. Ανδρικόπουλου), παρουσιάζεται ένα ακατάγραφο παράδειγμα δανειοδότησης του ελληνικού θέατρου σκιών από το παραμύθι. Πιο συγκεκριμένα, εξετάζεται η επιβίωση και ζύμωση στοιχείων των παραμυθιακών τύπων Αarne – Τhompson 921Α, 922Β και παραλλαγών του, όπως εντοπίζονται σε βιβλιογραφημένες και αδημοσίευτες ελληνικές συλλογές παραμυθιών.
Research Interests:
Α.Χοτζάκογλου,«“Το πεπρωμένο φυγείν αδύνατον (ή Οιδίπους)”:άγνωστο χειρόγραφο σεναρίου Θεάτρου Σκιών (Καραγκιόζη) του Κύπριου καραγκ/κτη Χριστόδουλου (Αντωνιάδη) Πάφιου (1904-1987)»,Κωνσταντίνου-Διαμαντάκου-Γαλάζης,Το Θέατρο στη νεότερη & στη σύγχρονη Κύπρο.Πρακτικά συνεδρίου 2015,Αθήνα 2020,123-49.more
"«Inescapability of Fate (or Oedipus)»: Puppet Shadow Theatre (Karaghiozis)’ unknown manuscript by Cypriot performer Christodoulos (Antoniades) Pafios (1904-1987)" Christodoulos A. Pafios was one of the greatest Puppet (Shadow)... more
"«Inescapability of Fate (or Oedipus)»: Puppet Shadow Theatre (Karaghiozis)’ unknown manuscript by Cypriot performer
Christodoulos (Antoniades) Pafios (1904-1987)"
Christodoulos A. Pafios was one of the greatest Puppet (Shadow) Theatre’s performers in Cyprus. His manuscript «Inescapability of Fate (or Oedipus)» (1979, 13 pages) was recently traced, and is here presented (pictures 2-14), broadening our knowledge’s horizons. The play, known as «Kolleteres (Karaghiozis’ son)’ birth» too, was rather popular in Pafios’ repertoire in the ’50s and Greece’s performers’ in the ’20s. According to the plot, Karaghiozis’ newborn child gets abducted by Pasha’s Officer and offered to him. Pasha, trying to escape his fate, orders the baby’s execution, which is annulled by merciful soldiers who abandon the baby in the forest. A childless shepherd (Barba-Yorgos, Karaghiozis’ uncle) finds and raises the child. After many years, Pasha meets the fatal child and reattempts to assassinate it. Thanks to mysterious interference the boy was not only saved but married Pasha’s daughter as well, fulfilling his destiny.
Despite first thoughts of Sophocles’ Oedipus rex as model, thorough examination of unpublished Greek folk tales (ATU 930), indicates great resemblances, suggesting that Karaghiozis’ performers who launched the play must have -subconsciously ?- adopted and developed structural and functional elements, mirrored in the tale.
Christodoulos (Antoniades) Pafios (1904-1987)"
Christodoulos A. Pafios was one of the greatest Puppet (Shadow) Theatre’s performers in Cyprus. His manuscript «Inescapability of Fate (or Oedipus)» (1979, 13 pages) was recently traced, and is here presented (pictures 2-14), broadening our knowledge’s horizons. The play, known as «Kolleteres (Karaghiozis’ son)’ birth» too, was rather popular in Pafios’ repertoire in the ’50s and Greece’s performers’ in the ’20s. According to the plot, Karaghiozis’ newborn child gets abducted by Pasha’s Officer and offered to him. Pasha, trying to escape his fate, orders the baby’s execution, which is annulled by merciful soldiers who abandon the baby in the forest. A childless shepherd (Barba-Yorgos, Karaghiozis’ uncle) finds and raises the child. After many years, Pasha meets the fatal child and reattempts to assassinate it. Thanks to mysterious interference the boy was not only saved but married Pasha’s daughter as well, fulfilling his destiny.
Despite first thoughts of Sophocles’ Oedipus rex as model, thorough examination of unpublished Greek folk tales (ATU 930), indicates great resemblances, suggesting that Karaghiozis’ performers who launched the play must have -subconsciously ?- adopted and developed structural and functional elements, mirrored in the tale.
Research Interests:
"Karaghiozis as nostalgia’ s aspect: Shadow Theatre and Greek Immigrants" Researching on Greek immigrants’ bibliographically unknown activity connected to Shadow Theatre (Karaghiozis) leeds to some very interesting conclusions. It proves... more
"Karaghiozis as nostalgia’ s aspect: Shadow Theatre and Greek Immigrants"
Researching on Greek immigrants’ bibliographically unknown activity connected to Shadow Theatre (Karaghiozis) leeds to some very interesting conclusions.
It proves that a significant number of Greek immigrants at some point connected their nostalgia, amusement, education with Shadow Theatre, mainly by performing but by play/screenwriting as well. Samples of such action (ca. 1970’s and on), were traced in Sweden (Ladopoulos brothers, Y. Greveniotes, Chrysovitsianos, “Your Black Eyes”), Denmark (“Berdes’ friends”), Finland (Il. Missyres), Germany (“Griechischen Schattentheater Aachen”, Chr. Filippides), France (Chr. Kyriazis), Switzerland, U.S.A. (G. Kefalopoulos, N. Dennis, T. Yannoules ?, A. Diakovasiles, F. Antonakos, L. Kassapides, Al. Malaos-Ev. Alexiou), Australia (K. Zouganelles, D. Katsoules, V. Kalamaras. Chr. Kassimides), etch.
In their majority, Greek immigrants’ Karaghiozis performances were embodied within Greek Community’s nest and attracted Greek and philhellenes’ audience. Since performers may be divided into two main categories (students and workers) their special features are presented considering special circumstances: motivation of their immigration and activity, language and texts used, painting ability, experimentation, partnerships, audience, impact, etch. Regardless to their differentiation however it becomes clear that both faced Karaghiozis as a genuine Greece’s reflection and used their performances as a connecting point to homeland.
Researching on Greek immigrants’ bibliographically unknown activity connected to Shadow Theatre (Karaghiozis) leeds to some very interesting conclusions.
It proves that a significant number of Greek immigrants at some point connected their nostalgia, amusement, education with Shadow Theatre, mainly by performing but by play/screenwriting as well. Samples of such action (ca. 1970’s and on), were traced in Sweden (Ladopoulos brothers, Y. Greveniotes, Chrysovitsianos, “Your Black Eyes”), Denmark (“Berdes’ friends”), Finland (Il. Missyres), Germany (“Griechischen Schattentheater Aachen”, Chr. Filippides), France (Chr. Kyriazis), Switzerland, U.S.A. (G. Kefalopoulos, N. Dennis, T. Yannoules ?, A. Diakovasiles, F. Antonakos, L. Kassapides, Al. Malaos-Ev. Alexiou), Australia (K. Zouganelles, D. Katsoules, V. Kalamaras. Chr. Kassimides), etch.
In their majority, Greek immigrants’ Karaghiozis performances were embodied within Greek Community’s nest and attracted Greek and philhellenes’ audience. Since performers may be divided into two main categories (students and workers) their special features are presented considering special circumstances: motivation of their immigration and activity, language and texts used, painting ability, experimentation, partnerships, audience, impact, etch. Regardless to their differentiation however it becomes clear that both faced Karaghiozis as a genuine Greece’s reflection and used their performances as a connecting point to homeland.
Research Interests: Art History, Performing Arts, Theatre Studies, Cultural Heritage, Popular Culture, and 14 morePuppetry, Identity (Culture), Archives, Emigration Research, Visual Arts, Puppet Theatre, Theatre, Tradition, Children, Emigration, Shadow Theatre, Artists, Playwriting, Screenwriting, Media Writing, and Greek Emigration
"From Φιλόστοργος μήτηρ (Loving mother) to Ναυάγιον της πτωχής Μαρίας (Poor Maria’s shipwreck) by Demosthenes Maridakes: from stage to berdés" 'Φιλόστοργος μήτηρ' ’s play, which was written by D. Maridakes and published (1889) in... more
"From Φιλόστοργος μήτηρ (Loving mother) to Ναυάγιον της πτωχής Μαρίας (Poor Maria’s shipwreck) by Demosthenes Maridakes: from stage to berdés"
'Φιλόστοργος μήτηρ' ’s play, which was written by D. Maridakes and published (1889) in Cyclades, was recently traced. World traveler D. Maridakes, however, is one of the pioneers of Greek glove puppeteers (Fasoules) and his lost play 'Ναυάγιον της πτωχής Μαρίας' is considered to be one of the most popular in the past. In this essay we shall present 'Φιλόστοργος μήτηρ' and identify it as the lost script of 'Ναυάγιον της πτωχής Μαρίας'. Τo this destination we shall arrive enjoying assistance of Shadow Theatre (Karaghiozis) script’s rare versions of 'Ναυάγιον της πτωχής Μαρίας', which have survived, mirroring a common practice of sharing, between folk artists.
'Φιλόστοργος μήτηρ' ’s play, which was written by D. Maridakes and published (1889) in Cyclades, was recently traced. World traveler D. Maridakes, however, is one of the pioneers of Greek glove puppeteers (Fasoules) and his lost play 'Ναυάγιον της πτωχής Μαρίας' is considered to be one of the most popular in the past. In this essay we shall present 'Φιλόστοργος μήτηρ' and identify it as the lost script of 'Ναυάγιον της πτωχής Μαρίας'. Τo this destination we shall arrive enjoying assistance of Shadow Theatre (Karaghiozis) script’s rare versions of 'Ναυάγιον της πτωχής Μαρίας', which have survived, mirroring a common practice of sharing, between folk artists.
Research Interests: Folklore, Art History, Performing Arts, Theatre Studies, Theatre History, and 13 moreEthnography, Puppetry, Identity (Culture), Culture, Archives, Oral Traditions, Cultural Identity, Playwriting, Theatre, Shadow Theatre, Theatre Arts, Naive Art, Folk Art, Decorative and Craft Arts, and Karaghiozis and Karagöz
Anthi G. Chotzakoglou «Tracing political Shadow Puppet Theatre (Karaghiozis), performed in Cyprus and by Greek Immigrants» Abstract: Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to its... more
Anthi G. Chotzakoglou
«Tracing political Shadow Puppet Theatre (Karaghiozis), performed in Cyprus and by Greek Immigrants»
Abstract: Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to its scenery (Karaghiozis’ wrecked house opposite Pasha ’s palace) but to its themes, as well. However, in this essay, we shall shortly present performances of Greek shadow puppet performers, who live abroad and focus on specific political facts. We shall introduce bibliographically unknown -in most cases- performances by Greek immigrants and Greeks of Cyprus, attempting to highlight their political beliefs, motives, means and impact.
«Tracing political Shadow Puppet Theatre (Karaghiozis), performed in Cyprus and by Greek Immigrants»
Abstract: Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to its scenery (Karaghiozis’ wrecked house opposite Pasha ’s palace) but to its themes, as well. However, in this essay, we shall shortly present performances of Greek shadow puppet performers, who live abroad and focus on specific political facts. We shall introduce bibliographically unknown -in most cases- performances by Greek immigrants and Greeks of Cyprus, attempting to highlight their political beliefs, motives, means and impact.
Research Interests:
«Echoes of Oedipus’ myth in Greek Shadow Theatre (Karaghiozis): Karaghiozis son ’s birth or Inescapability of Fate» Abstract: This essay focuses on an intriguing play of Greek Shadow Theatre, probably launched in 1920’s and quite popular... more
«Echoes of Oedipus’ myth in Greek Shadow Theatre (Karaghiozis):
Karaghiozis son ’s birth or Inescapability of Fate»
Abstract: This essay focuses on an intriguing play of Greek Shadow Theatre, probably launched in 1920’s and quite popular in past years.
According to the plot, Karaghiozis’ newborn child gets abducted by Pasha’s Officer and offered to him. Pasha, trying to escape his fate, orders the baby’s execution, which is annulled by merciful soldiers who abandon the baby in the forest. A childless shepherd (Barba-Yorgos) finds and raises the child (Vretos). After many years, Pasha meets the fatal child and reattempts to assassinate it. Thanks to mysterious interference the boy not only is saved but marries Pasha’s daughter as well, fulfilling his destiny.
In order to trace the play’s models, a comparison between unpublished versions of the play, Greek tales of Fate (Αarne – Τhompson – Uther types 930-949) and Sophocles’ Oedipus rex, is drown.
Karaghiozis son ’s birth or Inescapability of Fate»
Abstract: This essay focuses on an intriguing play of Greek Shadow Theatre, probably launched in 1920’s and quite popular in past years.
According to the plot, Karaghiozis’ newborn child gets abducted by Pasha’s Officer and offered to him. Pasha, trying to escape his fate, orders the baby’s execution, which is annulled by merciful soldiers who abandon the baby in the forest. A childless shepherd (Barba-Yorgos) finds and raises the child (Vretos). After many years, Pasha meets the fatal child and reattempts to assassinate it. Thanks to mysterious interference the boy not only is saved but marries Pasha’s daughter as well, fulfilling his destiny.
In order to trace the play’s models, a comparison between unpublished versions of the play, Greek tales of Fate (Αarne – Τhompson – Uther types 930-949) and Sophocles’ Oedipus rex, is drown.
Research Interests: Cultural Studies, Performing Arts, Theatre Studies, Cultural Heritage, Ethnography, and 23 morePuppetry, Rare Books and Manuscripts, Drama, Culture, Archives, Oral Traditions, Playwriting, Visual Arts, Theatre, Folk and Fairy Tales, Fairy tales, Ancient Greek Theatre, Shadow Theatre, Oedipus, Role of Fate in Oedipus, Vasilaros, Charidimos, Vaggos Korfiatis, Sotiris Spatharis, Evgenios Spatharis, Giannaros (Giannes Mourelatos), Christodoulos Antoniades Pafios, and ATU 931
Α.Χοτζάκογλου,"Θέατρο και Θέατρο Σκιών (Καραγκιόζης).Επιβιώσεις της θεατρικής Αυτοσχέδιας/Νούτικης κωμωδίας στο Θέατρο Σκιών: μια 1η προσέγγιση,Στο: Μ.Μορφακίδης-Π.Παπαδοπούλου (επιμ.),Πρακτικά συνεδρίου "ΕΛΛΗΝΙΚΟ ΘΕΑΤΡΟ ΣΚΙΩΝ ΑΥΛΗ ΠΟΛΙΤΙΣΤΙΚΗ ΚΛΗΡΟΝΟΜΙΑ" Αθήνα 25-28/11/2015,Granada 2016,231-256.more
"Theatre and Shadow Puppet Theatre (Karaghiozis). Survival of traditional theatre comedy of improvisation in Shadow Puppet Theatre: a first approach" ABSTRACT: Although Shadow Puppet Theatre’ dramatology seems to embody a variety of... more
"Theatre and Shadow Puppet Theatre (Karaghiozis). Survival of traditional theatre comedy of improvisation in Shadow Puppet Theatre: a first approach"
ABSTRACT:
Although Shadow Puppet Theatre’ dramatology seems to embody a variety of models, not all aspects of its relation to Theatre have been thoroughly examined.
Heading to a first mapping, three short theatre comedies, traced in unpublished manuscript collection (1917 and on) of a travelling theatre company (M. Rouggeres’), are presented. Performances of these comedies sometimes date back at the end of 19th century and find shelter in various Greek communities’ cells. As theatre comedies’ reflections, three “unsuitable for minors” comedies of Shadow Puppet Theatre are presented in parallel. Their performances often date back in the 1930s but survive in contemporaneous stage as well.
As a result, connection of travelling actors - shadow puppet performers is enlightened and well documented through presented repertoire’s affinities. Additionally, Shadow Puppet Theatre proves to be a hostile field, where probably due to shadow puppet performers’ survival instinct, multiannual tradition of improvised theatre comedies revives through motifs, plays and tactics.
ABSTRACT:
Although Shadow Puppet Theatre’ dramatology seems to embody a variety of models, not all aspects of its relation to Theatre have been thoroughly examined.
Heading to a first mapping, three short theatre comedies, traced in unpublished manuscript collection (1917 and on) of a travelling theatre company (M. Rouggeres’), are presented. Performances of these comedies sometimes date back at the end of 19th century and find shelter in various Greek communities’ cells. As theatre comedies’ reflections, three “unsuitable for minors” comedies of Shadow Puppet Theatre are presented in parallel. Their performances often date back in the 1930s but survive in contemporaneous stage as well.
As a result, connection of travelling actors - shadow puppet performers is enlightened and well documented through presented repertoire’s affinities. Additionally, Shadow Puppet Theatre proves to be a hostile field, where probably due to shadow puppet performers’ survival instinct, multiannual tradition of improvised theatre comedies revives through motifs, plays and tactics.
Research Interests: Cultural Studies, Folklore, Performing Arts, Theatre Studies, Comedy, and 18 moreEthnography, Popular Culture, Actor Network Theory, Puppetry, Rare Books and Manuscripts, Culture, Archives, Oral Traditions, Cultural Memory, Greek Theatre, Visual Arts, Puppet Theatre, Theatre, Tradition, Shadow Theatre, Artists, Theatre Arts, and Karagiozis
A. Chotzakoglou, «From stage to defendants’ dock of court: the arrest of shadow puppet (Karaghiozis’) performer Bulldog» Summary: In this essay a sample of the significance of Police News in Press as “tool” of (Shadow) Theatre Research... more
A. Chotzakoglou, «From stage to defendants’ dock of court:
the arrest of shadow puppet (Karaghiozis’) performer Bulldog»
Summary: In this essay a sample of the significance of Police News in Press as “tool” of (Shadow) Theatre Research is being introduced. Due to a brutal triple homicide (1905), for which the shadow puppet (Karaghiozis’) performer Bulldog (George Maroudas or Koutrokis, ca. 1875-1917) was unjustly accused, unknown so far information comes to light, concerning his curriculum vitae, social profile, performing activity, touring circumstances, etch.
the arrest of shadow puppet (Karaghiozis’) performer Bulldog»
Summary: In this essay a sample of the significance of Police News in Press as “tool” of (Shadow) Theatre Research is being introduced. Due to a brutal triple homicide (1905), for which the shadow puppet (Karaghiozis’) performer Bulldog (George Maroudas or Koutrokis, ca. 1875-1917) was unjustly accused, unknown so far information comes to light, concerning his curriculum vitae, social profile, performing activity, touring circumstances, etch.
Research Interests: Cultural Studies, Criminal Justice, Folklore, Art History, Performing Arts, and 47 moreTheatre Studies, Design, Art, Social Sciences, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Social Identity, Ethnography, Performance Studies, Popular Culture, Manufacturing, Humor, Puppetry, Social and Cultural Anthropology, Amusement, Painting, Identity (Culture), Performance Art, Drama, Spectacle, Archives, Police, Cultural Memory, Greek Theatre, Visual Arts, Puppet Theatre, Theatre, Folk arts, Satire, Crime, Newspaper, Piraeus, Stage Design, Shadow Theatre, Street Performers, Artists, Theatre Arts, Rebetika, Performer Spectator Relationships, Popular Theatre, Karagiozis, Spatharis, Georgios Souris, G. Kondylakis, Timos Moraitinis, Georgios Tsokopoulos, and Bouldog
«Ιntroducing Spyros Moschogiannes, international Greek Hand / Shadow Puppet performer and Actor, from Egypt» Summary: Sp. Moschogiannes proves to be a Greek artist from Egypt, probably born in the late 1890s – early 1900s. He used to... more
«Ιntroducing Spyros Moschogiannes, international Greek Hand / Shadow Puppet performer and Actor, from Egypt»
Summary: Sp. Moschogiannes proves to be a Greek artist from Egypt, probably born in the late 1890s – early 1900s. He used to entertain (ca. 1926-1960) Greek population of Diaspora by Αcting and performing Shadow Theatre (Karaghiozis) but mainly by performing traditional Hand Puppet Theatre (Fasoulis). Thanks to part of S. Kouimtzis’ Archive (E.L.I.A.-M.I.E.T.), consisted of theatre brochures, professional correspondence and Press reports, additionally to bibliography and scarce Press articles, a lot of information is being revealed. In this frame titles, length and price of his performances come to light, as well as names of his partners (actors, singers, coffee/theatre owners, etch.), cities and places where he performed, terms of his associations, professional tactics and tours (Egypt, Cyprus, Sudan, Greece), what his protagonist puppet and himself looked like, etch. Moschogiannes’ activity mirrors not only amusement channels of Greek Diaspora but unexplored paths of Greek Puppet / Shadow Theatre as well.
Summary: Sp. Moschogiannes proves to be a Greek artist from Egypt, probably born in the late 1890s – early 1900s. He used to entertain (ca. 1926-1960) Greek population of Diaspora by Αcting and performing Shadow Theatre (Karaghiozis) but mainly by performing traditional Hand Puppet Theatre (Fasoulis). Thanks to part of S. Kouimtzis’ Archive (E.L.I.A.-M.I.E.T.), consisted of theatre brochures, professional correspondence and Press reports, additionally to bibliography and scarce Press articles, a lot of information is being revealed. In this frame titles, length and price of his performances come to light, as well as names of his partners (actors, singers, coffee/theatre owners, etch.), cities and places where he performed, terms of his associations, professional tactics and tours (Egypt, Cyprus, Sudan, Greece), what his protagonist puppet and himself looked like, etch. Moschogiannes’ activity mirrors not only amusement channels of Greek Diaspora but unexplored paths of Greek Puppet / Shadow Theatre as well.
Research Interests: Cultural Studies, Folklore, Visual Studies, Art History, Intercultural Communication, and 54 morePerforming Arts, Theatre Studies, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Dramaturgy, African Diaspora Studies, Africa, Identity (Culture), Audience and Reception Studies, Drama, Heritage Conservation, Culture, Archives, Cultural Identity, Cultural Memory, Egypt, African Diaspora, Diaspora Studies, Traditional Crafts, Acting, Travelling artists, Collecting and Collections, Visual Arts, Puppet Theatre, Theatre, Puppetry as an Art Form, Puppet Animation, Civilization, Tradition, Shadow Theatre, Theatre Arts, Theatre and Performance, Performer Training, Drama, Performance, History of Theatre, Performer Spectator Relationships, Greeks in Egypt, Greek shadow theatre, Karagiozis, Marionnettes, Greek Puppet Theatre, Fasoulis, Katina Singer From Constantinopole, SOUDAN, Moschogiannes Spyros, Patroklos Christides, Simos Kouimtzes, String Puppets, Glove Puppets, and Charinos
Α. Χοτζάκογλου, «Γνωρίζοντας δύο “άγνωστους” καραγκιοζοπαίκτες μέσα από τα σύνεργά τους: η καλλιτεχνική πορεία των Λ. Καραδήμου και Κ. Γεράκη», Πρακτικά συνεδρίου προς τιμήν της Π. Ζώρα, Αθήνα 2-5/11/2006 «Λαϊκή Τέχνη: Νέα ευρήματα–Νέες ερμηνείες»,εκδ. Μουσείου Μπενάκη,Αθήνα 2015, 405-421,LVII-III.more
«Getting acquainted with two “unknown” Karaghiozis performers through their equipment: the artistic “steps” of L. Karadimos and C. Gerakis» This paper is a presentation of two bibliographically unknown Greek Karaghiozis performers: L.... more
«Getting acquainted with two “unknown” Karaghiozis performers through their equipment: the artistic “steps” of L. Karadimos and C. Gerakis»
This paper is a presentation of two bibliographically unknown Greek Karaghiozis performers: L. Karadimos (1899-1965) and C. Gerakis (1910-1987).
Although being raised and having performed in different areas -Karadimos mainly in Peloponnese, Gerakis in Amorgos, Cyclades- they both were lured by Shadow Theatre and discovered its secrets with the assistance of the same great Athenian master, A. Mollas. After their apprenticeship, they both returned to their fatherland, got married and gave birth to many children.
The study of their well preserved -unpublished- hand-made equipment and the bibliographical research along with the gathering of oral interviews of their family, formal spectators, assistants and colleagues, prove a number of important points. Between them stand common drawing and voice imitating talent, singing virtues, similar plays and sometimes sketches. On the other side, the variety of Karadimos’ shadow puppets, settings, advertising posters, manufacturing techniques, as well as his touring tactics, are convincing “trails” of a professional performer.
Factors as education, geographical distance causing lack of artistic “trades”, different chronological period of artistic action connecting to the quality of other popular spectacles, fertile inspiration and cultivation of fruitful competition, facing performances as main source of income, seem to define one ’s development. The two performers offer an example of passionate people coming from similar departure point, who under different social circumstances came to dissimilar terminals.
This paper is a presentation of two bibliographically unknown Greek Karaghiozis performers: L. Karadimos (1899-1965) and C. Gerakis (1910-1987).
Although being raised and having performed in different areas -Karadimos mainly in Peloponnese, Gerakis in Amorgos, Cyclades- they both were lured by Shadow Theatre and discovered its secrets with the assistance of the same great Athenian master, A. Mollas. After their apprenticeship, they both returned to their fatherland, got married and gave birth to many children.
The study of their well preserved -unpublished- hand-made equipment and the bibliographical research along with the gathering of oral interviews of their family, formal spectators, assistants and colleagues, prove a number of important points. Between them stand common drawing and voice imitating talent, singing virtues, similar plays and sometimes sketches. On the other side, the variety of Karadimos’ shadow puppets, settings, advertising posters, manufacturing techniques, as well as his touring tactics, are convincing “trails” of a professional performer.
Factors as education, geographical distance causing lack of artistic “trades”, different chronological period of artistic action connecting to the quality of other popular spectacles, fertile inspiration and cultivation of fruitful competition, facing performances as main source of income, seem to define one ’s development. The two performers offer an example of passionate people coming from similar departure point, who under different social circumstances came to dissimilar terminals.
Research Interests: Cultural History, Cultural Studies, Folklore, Visual Studies, Art History, and 45 morePerforming Arts, Theatre Studies, Design, Art, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Manufacturing, Contemporary Art, Puppetry, Visual Culture, Identity (Culture), Drama, Culture, Archives, Oral Traditions, Popular Arts, Performance, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, History of Art, Collecting and Collections, Visual Arts, Theatre, Peloponnese, Memory, Cultural Heritage and Preservation, Cyclades, Stage Design, Shadow Theatre, Tripoli, Theatre Arts, Amorgos, Cultural Heritage Cultural Memory Cultural Studies Folk legends Folklore Folktales History of Folklore Theory and Method Identity (Culture) Languages Mythology, Theatre and puppetry, Performer Spectator Relationships, Greek shadow theatre, Karagiozis, Arcadia, Karaghiozis and Karagöz, and Shadow Puppet Theatre
Depicting the television career (part B΄ 1978-early 1990s) of shadow puppet performer E. Spatharis’, repertoire, partners, interviews, staging and editing tactics are presented. It becomes obvious, that via Educational Public Television,... more
Depicting the television career (part B΄ 1978-early 1990s) of shadow puppet performer E. Spatharis’, repertoire, partners, interviews, staging and editing tactics are presented. It becomes obvious, that via Educational Public Television, together with a promising team, Spatharis became a link of Folk and Art Theatre, experimenting with different forms, in order to attract and educate wider audience. Taking technological achievements and renovating ideas into consideration, although risking his reputation, he attempted to refresh the traditional spectacle, that he first met as a child, behind his father’s white screen.
Research Interests: Mythology And Folklore, Cultural History, Cultural Studies, Folklore, Mythology, and 66 moreHomer, Art History, Education, Media Studies, Media and Cultural Studies, Performing Arts, Musical Theatre, Theatre Studies, Art, Theatre History, Television Studies, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Performance Studies, Children's Literature, Popular Culture, Contemporary Art, Puppetry, Visual Culture, Dramaturgy, History and Memory, Arts Education, Scriptwriting, Rare Books and Manuscripts, Cultural Heritage Conservation, Performance Art, Entertainment Education, Spectacle, Culture, Archives, Culture Studies, Folktales, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Media, History of Art, Playwriting, Artistic Research, Television History, Entertainment, Dramaturgy and Scriptwriting, Visual Arts, Puppet Theatre, Theatre, Byzantium, Television, Puppetry as an Educational Tool, Fine Arts, Tradition, Odyssey, Scripting, Children, Media and Entertainment, ERT, Folk and Fairy Tales, Primary Education, Educational Television, Shadow Theatre, Audiovisual Archives, Theatre Arts, Scripts, TV shows, Playwriting, Screenwriting, Media Writing, Greek shadow theatre, and Theatrical Text
Attempting to explore the development of Greek Shadow Theatre («Karaghiozis») from spectacle for adults to spectacle for children, we shall focus on its presence in Television, underlining the vital contribution of Technology. In... more
Attempting to explore the development of Greek Shadow Theatre («Karaghiozis») from spectacle for adults to spectacle for children, we shall focus on its presence in Television, underlining the vital contribution of Technology. In specific, we shall pursue the televisual course of Evg. Spatharis, who first performed in state Television (1966-1992), meeting a huge success. The first part of our research, here presented, focuses on the first time range of Spatharis’ televisual activity (1966-1977), exhibiting and evaluating research results in Press, public and individual Archives.
Research Interests: Cultural Studies, Folklore, Visual Studies, Art History, Education, and 54 moreMedia Studies, Performing Arts, Theatre Studies, Educational Technology, Popular Education, Theatre History, Television Studies, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Manufacturing, Puppetry, Visual Culture, History and Memory, Child Development, Oral history, Entertainment Education, Heritage Conservation, Spectacle, Culture, Archives, Memory Studies, Visual Communication, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Media, Decorative Arts, Playwriting, Television History, Recordkeeping and Archives, Entertainment, Visual Arts, Puppet Theatre, Theatre, Television, Audiovisual Art, Memory, Oral History and Memory, Tradition, Media Research, Media and Entertainment, ERT, Educational, Educational Television, Shadow Theatre, Audiovisual Archives, Greek television, Scripts, TV shows, Greek shadow theatre, Karagiozis, and Evgenios Spatharis
Research Interests: Cultural History, Cultural Studies, Folklore, Improvisation, Performing Arts, and 91 moreTheatre Studies, Art, Theatre History, Audience as Composer-Performers Events, Cultural Heritage, Ethnography, Performance Studies, Interactive Theatre, Popular Culture, Byzantine Literature, Puppetry, Visual Culture, Dramaturgy, Folk Theatre, Collaboration, Painting, Identity (Culture), Drama, Oral history, Scenography, Spectacle, Culture, Archives, Oral Traditions, Performance, Folk legends, Byzantine Studies, Ethnography (Research Methodology), Collaboration Of Archives, Libraries And Museums, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Byzantine History, Traditional Crafts, Playwriting, Oral Traditions (Culture), Artists' Writings, Adaptation (Literature), Puppet Theatre, Museum Archives, Theatre, History and Theory of Scenography, Folk arts, Puppetry as an Art Form, Artists Scientists collaborations, Children's Play, Theatre and Film studies, Oral History and Memory, Tradition, Myth, Folk Studies, Legends, Theatricality, Narration, Folk and Fairy Tales, Cultura Popular, Artist, Film and Theatre, Byzantine art, Literature-screen adaptation, Stage Design, Shadow Theatre, Traditional Witchcraft, Theatre Directing and Playwriting, Theatre Arts, Theatre research, Theatrical Adaptation, Theatre Research, Scenography, Performance, Hero Archetype, Folk, Dramatic Arts, Classical Drama and Acting Performance, Theatricality and performativity, Drama and theatre studies, Playwriting, Screenwriting, Media Writing, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Dramatics, Scenographic Strategies, Karaghiozis and Karagöz, Vasilaros, Kouzaros, Velisarios, Theatre and Drama Research, Artistic Productions, Theatrical Text, Naivety, Lambros Karadimas, Giannaros, Antonaros, Plessas, and Dinos Theodoropoulos
Presentation of four unpublished documents (invitation letters & theatre brochures), proving that Spyros Moschogiannes, Greek puppeteer living in Egypt, performed in 1926, in Cyprus (Pafos) as well.
Research Interests: Cultural History, Cultural Studies, Performing Arts, Musical Theatre, Theatre Studies, and 71 moreArt, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Popular Culture, Diasporas, Puppetry, Dramaturgy, African Diaspora Studies, Amusement, Cyprus Studies, Rare Books and Manuscripts, Performance Art, Drama, Spectacle, Culture, Archives, Diaspora, Culture Studies, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Egypt, Greek Theatre, Diaspora Studies, Modern History of Cyprus, Cyprus, Acting, Rare Books And Manuscripts (Library Science), Cyprus Studies (Anthropology), Acting and Directing, Puppet Theatre, Greek Diaspora, Theatre, Folk arts, Puppet Animation, Manuscripts, Puppets, Egyptian Studies, Folk Art, Shadow Theatre, Archives and Documentation, Theatre Arts, Theatre research, Rare Books Manuscripts and Texts, Theatrical Adaptation, Theatre Research, Scenography, Performance, Dramatic Arts, Drama and theatre studies, Naive Art, Folk Art, Decorative and Craft Arts, Greeks in Egypt, Greek shadow theatre, Karagiozis, Dramatics, Theater, Scenography + Performance Design, Karaghiozis and Karagöz, Drama, Theatre, and Performance, Adamantios Diamantis, Greek Puppet Theatre, Moschos, Fasoulis, Kukla, Andreikela, Katina Singer From Constantinopole, Theodoros Violaris, Theatre and Drama Research, Music and Performing Arts, Shadow Puppet Theatre, Pafos, Moschogiannes Spyros, and Patroklos Christides
"Poverty and Orphanhood: unpublished manuscript of play written by the shadow puppeteer A.P.Kokonas " According to his interviews and memoirs the Cypriot shadow puppeteer (Karaghiozis performer) A. P. Kokonas (1920-1983) wrote several... more
"Poverty and Orphanhood: unpublished manuscript of play written by the shadow puppeteer A.P.Kokonas "
According to his interviews and memoirs the Cypriot shadow puppeteer (Karaghiozis performer) A. P. Kokonas (1920-1983) wrote several plays on his own. Although there is information on his offering his plays (manuscripts or sound records) to state institutions or employees, not a single one was published or was accessible so far.
Researching on Kokonas' family Archive, a manuscript (1965) of "Poverty and Orphanhood" (1946) was discovered. It is here presented along with a short analysis of characters, plot and relative fragments of Kokonas' professional diaries, revealing places of stage and number of tickets.
This essay aims to contribute to the so limited corpus of Greek Shadow Theatre' s texts. In addition it may enlighten the tendency of postwar performing activity towards social drama / melodrama, widespread in Shadow Theatre field, as well.
According to his interviews and memoirs the Cypriot shadow puppeteer (Karaghiozis performer) A. P. Kokonas (1920-1983) wrote several plays on his own. Although there is information on his offering his plays (manuscripts or sound records) to state institutions or employees, not a single one was published or was accessible so far.
Researching on Kokonas' family Archive, a manuscript (1965) of "Poverty and Orphanhood" (1946) was discovered. It is here presented along with a short analysis of characters, plot and relative fragments of Kokonas' professional diaries, revealing places of stage and number of tickets.
This essay aims to contribute to the so limited corpus of Greek Shadow Theatre' s texts. In addition it may enlighten the tendency of postwar performing activity towards social drama / melodrama, widespread in Shadow Theatre field, as well.
Research Interests: Cultural Studies, Performing Arts, Theatre Studies, Theatre History, Ethnography, and 40 morePerformance Studies, Popular Culture, Puppetry, Dramaturgy, Folk Theatre, Cyprus Studies, Rare Books and Manuscripts, Performance Art, Drama, Culture, Archives, Culture Studies, Communication Of Memory In Archives, Libraries And Museums, Playwriting, Acting, Acting and Directing, Dramaturgy and Scriptwriting, Puppet Theatre, Theatre, Folk arts, Puppetry as an Art Form, Fine Arts, Theatre Arts, Theatre research, Theatre Research, Scenography, Performance, Theatre and puppetry, Drama and theatre studies, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Shadow Theater, Kokonas, Solea, Cyprus, Greek Puppet Theatre, Theatre and Drama Research, Theatrical Text, Naivety, and Karagiozis and Karagoz
«Karagkiozis performers of Solea: Th. Themistokleous, A. Kokonas, G. Idalias» Shadow Theatre (“Karaghiozis”) in Cyprus is a quite intriguing field for researchers, due to its geographical position and its particular political-social... more
«Karagkiozis performers of Solea:
Th. Themistokleous, A. Kokonas, G. Idalias»
Shadow Theatre (“Karaghiozis”) in Cyprus is a quite intriguing field for researchers, due to its geographical position and its particular political-social situation. Questions as “dialogue” between Greek-Cypriots or Turkish-Cypriots and Greeks, Turks and even Arabs shadow puppets performers, seek for answers.
This essay is focused on the connection between three Greek-Cypriots neighboring (Nicosia ’s district) performers, mirrored in their archives: A. Kokonas (from Tembria), Th. Themistokleous (from Kakopetria), G. Idalias (from Nikosia, Korakou).
It is acknowledged that each’ s development was mainly determined by factors as social-family environment, educational level, family status, financial security, friendship or collaboration with other performers/designers, individual talent and style.
In addition to that, it is shown what kind of models were followed, how these three performers depended on each other and up to what level did they intercourse.
Th. Themistokleous, A. Kokonas, G. Idalias»
Shadow Theatre (“Karaghiozis”) in Cyprus is a quite intriguing field for researchers, due to its geographical position and its particular political-social situation. Questions as “dialogue” between Greek-Cypriots or Turkish-Cypriots and Greeks, Turks and even Arabs shadow puppets performers, seek for answers.
This essay is focused on the connection between three Greek-Cypriots neighboring (Nicosia ’s district) performers, mirrored in their archives: A. Kokonas (from Tembria), Th. Themistokleous (from Kakopetria), G. Idalias (from Nikosia, Korakou).
It is acknowledged that each’ s development was mainly determined by factors as social-family environment, educational level, family status, financial security, friendship or collaboration with other performers/designers, individual talent and style.
In addition to that, it is shown what kind of models were followed, how these three performers depended on each other and up to what level did they intercourse.
Research Interests: Cultural History, Cultural Studies, Folklore, Art History, Performing Arts, and 78 moreTheatre Studies, Cultural Sociology, Art, Theatre History, Cultural Heritage, Ethnography, Performance Studies, Narrative, Popular Culture, Manufacturing, Contemporary Art, Puppetry, Visual Culture, Dramaturgy, Social and Cultural Anthropology, History and Memory, Cyprus Studies, Identity (Culture), Cultural Heritage Conservation, Performance Art, Drama, Heritage Conservation, Performance Ethnography, Culture, Archives, Cross-Cultural Studies, Culture Studies, Performance, Cultural Identity, Performance Studies (Music), Ethnology, Cultural Memory, Ethnography (Research Methodology), Communication Of Memory In Archives, Libraries And Museums, Interactive Arts, Greek Theatre, Arts, Traditional Crafts, Cyprus, Playwriting, World Cultural Heritage, Oral Traditions (Culture), Cultural Anthropology, Performance ethnography (Theatre Studies), Visual Arts, Puppet Theatre, Theatre, Folk arts, Interactive Art, Puppetry as an Art Form, Fine Arts, Identity, Tradition, Dramaturgia, Archive, Perfomance Studies, Story Telling, Stage Design, Theatre Arts, Dramatic Arts, Theatricality and performativity, Theatre and puppetry, Drama and theatre studies, Nicosia, Cyprus, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Dramatics, Dramaturgy and playwriting, Karaghiozis and Karagöz, Shadow Theater, Kokonas, Solea, Cyprus, Greek Puppet Theatre, Naivety, and Kakopetria Cyprus
The story of "Erwtokritos" in the Shadow Theatre of Greece & Cyprus
Research Interests: Cultural Studies, Performing Arts, Theatre Studies, Theatre History, Ethnography, and 41 morePopular Culture, Puppetry, Folk Theatre, Cyprus Studies, Drama, Culture, Archives, Culture Studies, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Presence (Performing Arts), Playwriting, Theatre, History and Theory of Scenography, Folk arts, Cretan Studies, Puppets, Crete, Visual and Performing Arts, Shadow Theatre, Theatrical Adaptation, Theatre Research, Scenography, Performance, Dramatic Arts, Drama and theatre studies, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Samaras, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Scenographic Strategies, Adaptation (theatre), Erotokritos, Vasilaros, Stanisis, Blazakis, Chatzis, Kouzaros, Naivety, Karagiozis and Karagoz, and Kornaros
«The presence of Greek shadow puppeteers Sotiris and Evgenios Spatharis in Cyprus: testimonies of N. Ioannou’ s Archive at the Folk Art Museum of Cyprus (F.A.M.C.)» Abstract: The famous Greek shadow puppeteers Sot. And Evg. Spatharis paid... more
«The presence of Greek shadow puppeteers Sotiris and Evgenios Spatharis in Cyprus: testimonies of N. Ioannou’ s Archive at the Folk Art Museum of Cyprus (F.A.M.C.)»
Abstract: The famous Greek shadow puppeteers Sot. And Evg. Spatharis paid their first visit in Cyprus in September of 1953.
Although their performances had a great success, the dramatic earthquake of Pafos caused their early departure. However, they managed to meet, lure, challenge and influence several Cypriot shadow puppeteers.
The present essay focuses on this specific artistic “dialogue”, following tracks located in bibliography, past Press, Archives of shadow puppets and related equipment. After researching on the archives of F.A.M.C., Spatharis’ family and Cypriot shadow puppeteers’, it becomes clear that a part of the Spatharis’ equipment used in 1953, finds shelter at the F.A.M.C., through N. Ioannou’ s (shadow puppeteer, magician, folk painter) collection, which was bought in 1979.
More than ten objects, mostly misplaced, seem to derive from Spatharis’ artistic hand, whilst certain drawings, jokes, scenography, artistic tactics, still revive nowadays in Cypriot Shadow Puppet Theatre.
This study aims in highlighting not only aspects of great artistic personalities as Spatharis, whose memory is dedicated, but also the fluidity of the art of Shadow Theatre and family ties between Shadow Theatre of Greece and Cyprus.
Abstract: The famous Greek shadow puppeteers Sot. And Evg. Spatharis paid their first visit in Cyprus in September of 1953.
Although their performances had a great success, the dramatic earthquake of Pafos caused their early departure. However, they managed to meet, lure, challenge and influence several Cypriot shadow puppeteers.
The present essay focuses on this specific artistic “dialogue”, following tracks located in bibliography, past Press, Archives of shadow puppets and related equipment. After researching on the archives of F.A.M.C., Spatharis’ family and Cypriot shadow puppeteers’, it becomes clear that a part of the Spatharis’ equipment used in 1953, finds shelter at the F.A.M.C., through N. Ioannou’ s (shadow puppeteer, magician, folk painter) collection, which was bought in 1979.
More than ten objects, mostly misplaced, seem to derive from Spatharis’ artistic hand, whilst certain drawings, jokes, scenography, artistic tactics, still revive nowadays in Cypriot Shadow Puppet Theatre.
This study aims in highlighting not only aspects of great artistic personalities as Spatharis, whose memory is dedicated, but also the fluidity of the art of Shadow Theatre and family ties between Shadow Theatre of Greece and Cyprus.
Research Interests: Cultural Studies, Art History, Performing Arts, Theatre Studies, Design, and 56 moreArt, Theatre History, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Manufacturing, Folk Theatre, Cyprus Studies, Identity (Culture), Performance Art, Drama, Oral history, Spectacle, Culture, Archives, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Interactive Arts, Museums and Identity, Traditional Crafts, Cyprus, Museum Ethnography, Special Collections, Puppet Theatre, Theatre, Folk arts, Theatre for Children, Tradition, Theatricality, Cultural Heritage and Preservation, Manuscripts, Puppets, Libraries, Visual and Performing Arts, Theatre Arts, Museum Collections (Research), Cultural Heritage Cultural Memory Cultural Studies Folk legends Folklore Folktales History of Folklore Theory and Method Identity (Culture) Languages Mythology, Folk, Performing Arts, children theatre, Dramatic Arts, Theatricality and performativity, Drama and theatre studies, Nicosia, Cyprus, Performing Art, Library Users, Naive Art, Folk Art, Decorative and Craft Arts, Greek shadow theatre, Karagiozis, Karaghiozis and Karagöz, Shadow Theater, Spatharis, Sotiris Spatharis, Evgenios Spatharis, Shadow Puppet Theatre, and Greek Shadow Theatre, Karagiozis
Research Interests: Cultural History, Cultural Studies, Folklore, Aesthetics, Art History, and 61 moreMedia and Cultural Studies, Performing Arts, Theatre Studies, Art, Theatre History, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Visual Culture, Dramaturgy, Folk Theatre, Cyprus Studies, Identity (Culture), Performance Art, Drama, Scenography, Spectacle, Culture, Archives, Greek Theatre, History of Art, Arts, Modern History of Cyprus, Cyprus, Museum Ethnography, Cyprus Studies (Anthropology), Puppet Theatre, Theatre, History and Theory of Scenography, Folk arts, Fine Arts, Theatricality, Cross-Cultural Theatre, Puppets, folk art AND PAINTING, Shadow Theatre, String Figures, Theatre Arts, Theatre research, Fine Art Painting, Museum Collections (Research), Theatre Research, Scenography, Performance, Dramatic Arts, Nicosia, Cyprus, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Karagiozis, Dramatics, Scenographic Strategies, Shadow Theater, Spatharis, Kokonas, Pafios, Idalias, Crhistos Egglezou Pais, Theatre and Drama Research, Art Appreciation, Naivety, and Karagiozis and Karagoz
"THE «HERETIC» SHADOW PERFORMER PAVLOS MARMARAS THROUGH INTERVIEWS AND HIS EQUIPMENT, SHELTERED IN STATE AND PRIVATE COLLECTIONS" The contribution of Ionian Islands, although seems to be an important chapter of the History of Greek... more
"THE «HERETIC» SHADOW PERFORMER PAVLOS MARMARAS THROUGH INTERVIEWS AND HIS EQUIPMENT, SHELTERED IN STATE AND PRIVATE COLLECTIONS"
The contribution of Ionian Islands, although seems to be an important chapter of the History of Greek Puppet & Shadow Theatre («Karaghiozis») due to its geographical spot, has not yet been studied. Greek and Italian performers came from or toured the Ionian Islands, whilst typical Karagiozis puppets represent Ionian islanders. Between performers, the karaghiozis player P. Marmaras, who was borned (1922) in Zante and performed mainly in Athens and Peloponnese.
Having watched elder performers like Agiomavritis, K. Manos, Koutsouris, Kouzaros, etch. and ignoring his family disapproval, he started performing on his own nearly after the 2nd World War. In the ’70s he built a Karaghiozis theatre in Athens, among popular cinemas. During the ’80s, only a few years before his death, it was pulled down.
His plays varied from traditional comedies to typical dramas inspired by the Greek Revolution or the German Occupation. He also enjoyed performing and recording his own plays, depicting social problems of his time and embodying in them several autobiographical elements. The influence of cinema in his technique and themes, as well as that of popular literature, is quite clear. In order to construct his equipment (shadow puppets, settings, advertising posters or fly-sheets) he cooperated with several colleagues of his.
Today his archive (manuscripts, shadow puppets, settings, advertising means, tapes, sound equipment, photographs) finds shelter in museums, institutions, antique shops and private collections. His passion and effort in combining modern technology with tradition is well mirrored in it.
The contribution of Ionian Islands, although seems to be an important chapter of the History of Greek Puppet & Shadow Theatre («Karaghiozis») due to its geographical spot, has not yet been studied. Greek and Italian performers came from or toured the Ionian Islands, whilst typical Karagiozis puppets represent Ionian islanders. Between performers, the karaghiozis player P. Marmaras, who was borned (1922) in Zante and performed mainly in Athens and Peloponnese.
Having watched elder performers like Agiomavritis, K. Manos, Koutsouris, Kouzaros, etch. and ignoring his family disapproval, he started performing on his own nearly after the 2nd World War. In the ’70s he built a Karaghiozis theatre in Athens, among popular cinemas. During the ’80s, only a few years before his death, it was pulled down.
His plays varied from traditional comedies to typical dramas inspired by the Greek Revolution or the German Occupation. He also enjoyed performing and recording his own plays, depicting social problems of his time and embodying in them several autobiographical elements. The influence of cinema in his technique and themes, as well as that of popular literature, is quite clear. In order to construct his equipment (shadow puppets, settings, advertising posters or fly-sheets) he cooperated with several colleagues of his.
Today his archive (manuscripts, shadow puppets, settings, advertising means, tapes, sound equipment, photographs) finds shelter in museums, institutions, antique shops and private collections. His passion and effort in combining modern technology with tradition is well mirrored in it.
Research Interests: Cultural History, Cultural Studies, Sociology of Culture, Aesthetics, Art History, and 72 morePerforming Arts, Theatre Studies, Art, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Contemporary Art, Puppetry, Visual Culture, Dramaturgy, Folk Theatre, Amusement, Rare Books and Manuscripts, Performance Art, Drama, Spectacle, Culture, Archives, Biography, Culture Studies, Performance, Melodrama, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, History of Art, Arts, Playwriting, Acting, Acting and Directing, Dramaturgy and Scriptwriting, Visual Arts, Puppet Theatre, Museum Archives, Theatre, Folk arts, Theatre for Children, Fine Arts, Ionian Islands, Arts and Crafts, Dramaturgia, Folk and Fairy Tales, Fine Art, Art and Design, Visual and Performing Arts, Stage Design, Shadow Theatre, Zakynthos, Theatre Arts, Theatre Research, Scenography, Performance, Dramatic Arts, Theatre and puppetry, Drama and theatre studies, Performing Art, Playwriting, Screenwriting, Media Writing, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Dramatics, Art and Art History, Karaghiozis and Karagöz, Greek Puppet Theatre, Eptanisios, Marmaras, Fine Art Practice, Theatre and Drama Research, Melodrama & Culture, Art Appreciation, and Naivety
“CHRYSO, THE ORPHAN” BY A. IDALIAS – T. CHATZITTOFIS: A DRAMATIC PLAY (1948) OF CYPRIOTIC SHADOW THEATRE (KARAGKIOZIS) Shadow Theatre in Cyprus, as well as the rest Greek Shadow Theatre, mainly consists of comedies, social plays, plays... more
“CHRYSO, THE ORPHAN” BY A. IDALIAS – T. CHATZITTOFIS: A DRAMATIC PLAY (1948) OF CYPRIOTIC SHADOW THEATRE (KARAGKIOZIS)
Shadow Theatre in Cyprus, as well as the rest Greek Shadow Theatre, mainly consists of comedies, social plays, plays inspired by the Greek Revolution (1821), the German Occupation (1940) or even Mythology, theatre plays, novels and every-day events. However, the coexistence of Greekcypriots and Turkishcypriots seems to have been responsible for a preference to dramatic, social or pastoral plays, which would contribute to a peaceful coexistence.
In this study, such a prototype play under the title “Chryso the orphan” is being presented according to versions of two Greekcypriot Karagkiozis performers. T. Chatzittofis (1927-), who created and performed the play along with A. Idalias (1917-1996) in 1948, and G. Idalias (1939-), the son of the joint author and Karaghiozis player as well, who has attended some of the successful performances.
According to the story, poor Chryso, the protagonist, has an affair with Tasos, the son of a rich landowner. When informed, Karaghiozis, the uncle of Chryso, presses the young lovers to marry. On the contrary, Tasos’ mother objects to their marriage due to their social-financial distance. The play closes with the dramatic loss of the two lovers and the madness of Tasos’ mother.
The influence of plays deriving from Greece, like “Gkolfo” is quite visible. In addition, motives quite common in melodramatic cinema movies, theatre plays and popular literature of that time, seem to have been embodied as well.
Despite differences of the two versions and probable weaknesses of the play, the literature “loans” and the method of embodying such popular motives and stories into a Karagkiozis performance become clear.
Shadow Theatre in Cyprus, as well as the rest Greek Shadow Theatre, mainly consists of comedies, social plays, plays inspired by the Greek Revolution (1821), the German Occupation (1940) or even Mythology, theatre plays, novels and every-day events. However, the coexistence of Greekcypriots and Turkishcypriots seems to have been responsible for a preference to dramatic, social or pastoral plays, which would contribute to a peaceful coexistence.
In this study, such a prototype play under the title “Chryso the orphan” is being presented according to versions of two Greekcypriot Karagkiozis performers. T. Chatzittofis (1927-), who created and performed the play along with A. Idalias (1917-1996) in 1948, and G. Idalias (1939-), the son of the joint author and Karaghiozis player as well, who has attended some of the successful performances.
According to the story, poor Chryso, the protagonist, has an affair with Tasos, the son of a rich landowner. When informed, Karaghiozis, the uncle of Chryso, presses the young lovers to marry. On the contrary, Tasos’ mother objects to their marriage due to their social-financial distance. The play closes with the dramatic loss of the two lovers and the madness of Tasos’ mother.
The influence of plays deriving from Greece, like “Gkolfo” is quite visible. In addition, motives quite common in melodramatic cinema movies, theatre plays and popular literature of that time, seem to have been embodied as well.
Despite differences of the two versions and probable weaknesses of the play, the literature “loans” and the method of embodying such popular motives and stories into a Karagkiozis performance become clear.
Research Interests: Cultural History, Cultural Studies, Folklore, Archival Studies, Art History, and 68 morePerforming Arts, Theatre Studies, Art, Theatre History, Cultural Heritage, Ethnography, Performance Studies, Dramatic Literature, Interactive Theatre, Narrative, Popular Culture, Puppetry, Dramaturgy, Cyprus Studies, Scriptwriting, Rare Books and Manuscripts, Identity (Culture), Performance Art, Drama, Spectacle, Culture, Archives, Melodrama, Ethnology, Collaboration Of Archives, Libraries And Museums, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Folklore (Literature), Cyprus, Playwriting, Acting, Rare Books And Manuscripts (Library Science), Cyprus Studies (Anthropology), Artists' Writings, Cultural Anthropology, Acting and Directing, Dramaturgy and Scriptwriting, Visual Arts, Puppet Theatre, Theatre, Folk arts, Creative Drama, Oral History and Memory, Theatricality, Puppets, Visual and Performing Arts, Shadow Theatre, Script, Theatre Arts, Dramatic Arts, Theatricality and performativity, Theatre and puppetry, Drama and theatre studies, Performing Art, Theatre Studies, Theatre Theory, playwriting, Amateur theatre, Greek shadow theatre, Karagiozis, Theater and Performance Studies, Karaghiozis and Karagöz, Idalias, Chajitofis, Melodrama & Culture, Theatrical Text, Naivety, Martha & Maria, Melodrama and Performance, and Shadow Puppet Theatre
Research Interests: Cultural History, Cultural Studies, Art History, Performing Arts, Theatre Studies, and 73 moreArt, Theatre History, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Visual Culture, Dramaturgy, Cyprus Studies, Rare Books and Manuscripts, Identity (Culture), Cultural Heritage Conservation, Performance Art, Drama, Oral history, Spectacle, Culture, Archives, Culture Studies, Performance, Cultural Identity, Cultural Memory, Collaboration Of Archives, Libraries And Museums, History of Art, Cyprus, Scenario planning, Playwriting, Cyprus Studies (Anthropology), Puppet Theatre, Theatre, Folk arts, Theatre and Film studies, Tradition, The EOKA Struggle in Cyprus during the 1950's, Manuscripts, Dramaturgia, Puppets, Cultura, Visual and Performing Arts, Shadow Theatre, History of Arts, Theatre Arts, Drama, Performance, History of Theatre, Cultural Heritage Cultural Memory Cultural Studies Folk legends Folklore Folktales History of Folklore Theory and Method Identity (Culture) Languages Mythology, Dramatic Arts, Drama and theatre studies, Performing Art, Samaras, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Dramatics, Karaghiozis and Karagöz, Spatharis, Vasilaros, Pafios, Idalias, Chajitofis, Spyropoulos, Voultsidis, Routsos, Zarikos, Charidimos, Vaggos Korfiatis, Avraam Antonakos, Michlis, Garth Frost, Lena Spanou, Vasilis Rotas, Theatrical Text, Shadow Puppet Theatre, and Greek Shadow Theatre, Karagiozis
In this paper we are interested in the relationship between Karagkiozis - theatre - puppet theatre - folk tale. Trying to trace and follow a -today- invisible thread, we focus on the unregistered connection between popular Karagkiozis... more
In this paper we are interested in the relationship between Karagkiozis - theatre - puppet theatre - folk tale. Trying to trace and follow a -today- invisible thread, we focus on the unregistered connection between popular Karagkiozis play "The three secretaries/suitors/lovers/grooms", Boccaccio's phycisian Simone of 'Decameron', folk tale ("The three suitors in the cemetary ATU 940"), puppet theatre's scenarios (e.g. "The three grooms/opponent lovers" etch.), a play by A. Nicolaras ("The three grooms and one bride") and the anonymous publication (Smyrna 1870) of the play ''The good groom".
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Η παρούσα ανακοίνωση εστιάζει σε δύο δραματικά κείμενα θεάτρου σκιών που συνδέονται με τη Μ. Ασία και που εκ πρώτης όψεως μοιάζουν δάνεια από άλλες τέχνες, τεκμηριώνοντας την ευελιξία και την πολυσυλλεκτικότητα του θεάτρου σκιών. Η... more
Η παρούσα ανακοίνωση εστιάζει σε δύο δραματικά κείμενα θεάτρου σκιών που συνδέονται με τη Μ. Ασία και που εκ πρώτης όψεως μοιάζουν δάνεια από άλλες τέχνες, τεκμηριώνοντας την ευελιξία και την πολυσυλλεκτικότητα του θεάτρου σκιών. Η παρουσίαση των προτύπων (;) θα αναδείξει τον αναζητούμενο βαθμό συγγένειας αποκαλύπτοντας τόσο κάποιες δημοφιλείς στρατηγικές των μαστόρων της τέχνης του Καραγκιόζη όσο και τον πολυδιάστατο χαρακτήρα του. Παράλληλα θ’ αναζητηθούν τα κίνητρα ενσωμάτωσης των συγκεκριμένων έργων -με αναφορές στην Κωνσταντινούπολη- στον ελληνικό μπερντέ, ιχνηλατώντας τη σχέση του λαβωμένου προσφυγικού ελληνισμού με αυτόν και τον πρωταγωνιστή του.
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Research Interests:
Research Interests:
Ο Συριανός Δ. Μαριδάκης δραστηριοποιήθηκε κατά το τελευταίο τέταρτο του 19ου και τα πρώτα χρόνια του 20ού αιώνα. Αν και αρχικά εργάστηκε ως ηθοποιός και θαυματοποιός με το καλλιτεχνικό όνομα De Maredik, θεωρείται πλέον θεμελιωτής του... more
Ο Συριανός Δ. Μαριδάκης δραστηριοποιήθηκε κατά το τελευταίο τέταρτο του 19ου και τα πρώτα χρόνια του 20ού αιώνα. Αν και αρχικά εργάστηκε ως ηθοποιός και θαυματοποιός με το καλλιτεχνικό όνομα De Maredik, θεωρείται πλέον θεμελιωτής του ελληνικού θεάτρου Ανδρεικέλων (Φασουλή).
Δημοσιεύματα Τύπου του απέδιδαν την πατρότητα κειμένων που παρουσιάζονταν από σκηνές ανδρεικέλων, όμως τα συγγράμματά του φαίνονταν να λανθάνουν. Στην παρούσα ανακοίνωση, θα παρουσιαστεί έκδοση (Ερμούπολη, 1878) μονόπρακτης κωμωδίας του, μοναδικό αντίτυπο της οποίας εντοπίστηκε στη Χίο, και φαίνεται να είναι η παλαιότερη του είδους της.
Δημοσιεύματα Τύπου του απέδιδαν την πατρότητα κειμένων που παρουσιάζονταν από σκηνές ανδρεικέλων, όμως τα συγγράμματά του φαίνονταν να λανθάνουν. Στην παρούσα ανακοίνωση, θα παρουσιαστεί έκδοση (Ερμούπολη, 1878) μονόπρακτης κωμωδίας του, μοναδικό αντίτυπο της οποίας εντοπίστηκε στη Χίο, και φαίνεται να είναι η παλαιότερη του είδους της.
Research Interests:
«“Τα παλαιά χρέη” του Ελληνικού Θεάτρου Σκιών (Καραγκιόζη)» Περίληψη: Το Ελληνικό Θέατρο Σκιών (Καραγκιόζης) συνιστά σημείο διασταύρωσης ποικίλων τεχνών. Δεν είναι λίγα τα έργα που έχουν αντλήσει εξ ολοκλήρου έμπνευση από το Θέατρο, τη... more
«“Τα παλαιά χρέη” του Ελληνικού Θεάτρου Σκιών (Καραγκιόζη)»
Περίληψη: Το Ελληνικό Θέατρο Σκιών (Καραγκιόζης) συνιστά σημείο διασταύρωσης ποικίλων τεχνών. Δεν είναι λίγα τα έργα που έχουν αντλήσει εξ ολοκλήρου έμπνευση από το Θέατρο, τη Λογοτεχνία, το Παραμύθι ή που σε στιγμιότυπά τους αναβιώνουν τα ξεχασμένα σήμερα πρότυπά τους. Απαραίτητο σύνεργο στην έρευνα του πεδίου αυτού αποτελούν σήμερα, δημοσιευμένα φυλλάδια Καραγκιόζη, ηχογραφημένες παραστάσεις και χειρόγραφα σενάρια, που βρίσκουν καταφύγιο σε ποικίλες ιδιωτικές ή ελάχιστες δημόσιες συλλογές.
Εστιάζοντας στη συλλογή του Ινστιτούτου Μεσογειακών Σπουδών του Ιδρύματος Τεχνολογίας και Έρευνας, και ειδικότερα στο χειρόγραφο “Τα παλαιά χρέη”, προερχόμενο από τη γραφίδα του Πελοποννήσιου καραγκιοζοπαίκτη Βασίλαρου (Β. Ανδρικόπουλου), θα παρουσιασθεί ένα ακατάγραφο παράδειγμα δανειοδότησης του Ελληνικού Θέατρου Σκιών από το Παραμύθι. Πιο συγκεκριμένα, θα εξετασθεί η επιβίωση και ζύμωση στοιχείων των παραμυθιακών τύπων Αarne – Τhompson 921Α, 922Β και παραλλαγών του, όπως εντοπίζονται σε βιβλιογραφημένες και αδημοσίευτες ελληνικές συλλογές παραμυθιών.
Περίληψη: Το Ελληνικό Θέατρο Σκιών (Καραγκιόζης) συνιστά σημείο διασταύρωσης ποικίλων τεχνών. Δεν είναι λίγα τα έργα που έχουν αντλήσει εξ ολοκλήρου έμπνευση από το Θέατρο, τη Λογοτεχνία, το Παραμύθι ή που σε στιγμιότυπά τους αναβιώνουν τα ξεχασμένα σήμερα πρότυπά τους. Απαραίτητο σύνεργο στην έρευνα του πεδίου αυτού αποτελούν σήμερα, δημοσιευμένα φυλλάδια Καραγκιόζη, ηχογραφημένες παραστάσεις και χειρόγραφα σενάρια, που βρίσκουν καταφύγιο σε ποικίλες ιδιωτικές ή ελάχιστες δημόσιες συλλογές.
Εστιάζοντας στη συλλογή του Ινστιτούτου Μεσογειακών Σπουδών του Ιδρύματος Τεχνολογίας και Έρευνας, και ειδικότερα στο χειρόγραφο “Τα παλαιά χρέη”, προερχόμενο από τη γραφίδα του Πελοποννήσιου καραγκιοζοπαίκτη Βασίλαρου (Β. Ανδρικόπουλου), θα παρουσιασθεί ένα ακατάγραφο παράδειγμα δανειοδότησης του Ελληνικού Θέατρου Σκιών από το Παραμύθι. Πιο συγκεκριμένα, θα εξετασθεί η επιβίωση και ζύμωση στοιχείων των παραμυθιακών τύπων Αarne – Τhompson 921Α, 922Β και παραλλαγών του, όπως εντοπίζονται σε βιβλιογραφημένες και αδημοσίευτες ελληνικές συλλογές παραμυθιών.
Research Interests:
Το Θέατρο Σκιών βρίσκεται σε ανοιχτό διάλογο με τις παρασταστικές και εικαστικές τέχνες, συνιστώντας ένα κατ’ εξοχήν δημιουργικό Θέατρο Ετερότητας. Δανείζοντας και δανειζόμενο αδιάκοπα, οπτικά και λεκτικά στοιχεία, αλλά φέροντας -στην... more
Το Θέατρο Σκιών βρίσκεται σε ανοιχτό διάλογο με τις παρασταστικές και εικαστικές τέχνες, συνιστώντας ένα κατ’ εξοχήν δημιουργικό Θέατρο Ετερότητας. Δανείζοντας και δανειζόμενο αδιάκοπα, οπτικά και λεκτικά στοιχεία, αλλά φέροντας -στην ελληνική εκδοχή του- κι ένα πλήθος αραβικών και οθωμανικών αποτυπωμάτων, συγκεντρώνει και αντικατοπτρίζει πολλαπλές όψεις της θεατρικής ετερότητας. Όχι μόνον οι διαφορετικές τέχνες που αξιοποιούνται στο λευκό φόντο των σκιών, αλλά και οι ίδιοι οι ήρωες του, ως φορείς περιεχομένου, προερχόμενοι από διαφορετικές κοινότητες, τάξεις, εθνότητες, θρησκείες, αποτελούν απτά δείγματα ενσωμάτωσης του “άλλου”.
Εδώ ωστόσο θα παρουσιασθεί ένα αβιβλιογράφητο παράδειγμα ετερότητας του δημοφιλούς θεάματος, σε επίπεδο θεματολογίας. Ειδικότερα, θα εξετασθεί η επιβίωση στο Ελληνικό Θέατρο Σκιών (Καραγκιόζης), στοιχείων του παραμυθιακού τύπου ΑΤ 1920 (“Contest in lying”) και παραλλαγών του. Μέσα από το συγκεκριμένο παράδειγμα και με αρρωγό την έρευνα σε (αδημοσίευτες) συλλογές παραμυθιών του μικρασιατικού και ελλαδικού χώρου αφ’ ενός και σε εκδοχές κειμένων και παραστάσεων του Ελληνικού Θεάτρου Σκιών (Καραγκιόζη) αφ’ ετέρου, θα παρουσιασθεί η άγνωστη αυτή πτυχή της σχέσης των δύο ειδών. Η ανακοίνωση, πέραν της επισήμανσης της άγνωστης θεματολογικής σχέσης, στοχεύει να συνδράμει στην ανάδειξη των βημάτων ενσωμάτωσης, στη χρονολογική οριοθέτηση των σημείων τομής, στους φορείς της και στις συνθήκες επώασης κι επιβίωσης μέχρι τις μέρες μας.
Εδώ ωστόσο θα παρουσιασθεί ένα αβιβλιογράφητο παράδειγμα ετερότητας του δημοφιλούς θεάματος, σε επίπεδο θεματολογίας. Ειδικότερα, θα εξετασθεί η επιβίωση στο Ελληνικό Θέατρο Σκιών (Καραγκιόζης), στοιχείων του παραμυθιακού τύπου ΑΤ 1920 (“Contest in lying”) και παραλλαγών του. Μέσα από το συγκεκριμένο παράδειγμα και με αρρωγό την έρευνα σε (αδημοσίευτες) συλλογές παραμυθιών του μικρασιατικού και ελλαδικού χώρου αφ’ ενός και σε εκδοχές κειμένων και παραστάσεων του Ελληνικού Θεάτρου Σκιών (Καραγκιόζη) αφ’ ετέρου, θα παρουσιασθεί η άγνωστη αυτή πτυχή της σχέσης των δύο ειδών. Η ανακοίνωση, πέραν της επισήμανσης της άγνωστης θεματολογικής σχέσης, στοχεύει να συνδράμει στην ανάδειξη των βημάτων ενσωμάτωσης, στη χρονολογική οριοθέτηση των σημείων τομής, στους φορείς της και στις συνθήκες επώασης κι επιβίωσης μέχρι τις μέρες μας.
Research Interests: Folklore, Intercultural Communication, Performing Arts, Theatre Studies, Cultural Heritage, and 14 morePuppetry, Storytelling, Culture, Folktales, Folk and Fairy Tales, Turkish Folklore, Shadow Theatre, Traditional Ottoman-Turkish Drama (karagöz, Ortaoyunu), Greek shadow theatre, Lying, Karaghiozis and Karagöz, Puppetry and Folk Tales, Keloglan, and Oral Tradition Folk Tale
Από το σύμπαν των θεατρικών Αρχείων και Συλλογών δεν θα μπορούσε να απουσιάζει το Θέατρο Σκιών, καθώς μάλιστα εμπεριέχει εν σπέρματι ευρύ σύνολο τεχνών. Στο Θέατρο και τη Λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ... more
Από το σύμπαν των θεατρικών Αρχείων και Συλλογών δεν θα μπορούσε να απουσιάζει το Θέατρο Σκιών, καθώς μάλιστα εμπεριέχει εν σπέρματι ευρύ σύνολο τεχνών.
Στο Θέατρο και τη Λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ Κωνσταντινουπόλεως νομικός και λογοτέχνης Αθ. Φωτιάδης (1921-1989), δημιουργώντας ένα ογκώδες σχετικό Αρχείο. Ιδιαίτερη θέση στη συλλογή του καταλάμβανε το Μικροθέατρο και κυρίως το Θέατρο Σκιών. Το Αρχείο Αθ. Φωτιάδη, που υπέστη διαδοχικές εκκαθαρίσεις, ενσωματώθηκε πλέον σε συλλογές διαφορετικών φορέων και ιδιωτών. Το τμήμα του, που βρίσκεται σήμερα στο Αρχείο της υποφαινόμενης, θα παρουσιαστεί εδώ.
Πρόκειται για Αρχείο αποτελούμενο σε γενικές γραμμές από υλικό πατρότητας άλλων (πηγών και μελετών), που συνέλλεγε ο συγγραφέας και υλικό πρωτογενές, που παρήγαγε ο ίδιος. Στη συλλογή περιλαμβάνονται τόσο έντυπα, όσο και χειρόγραφα, δακτυλόγραφα αλλά και οπτικοακουστικό υλικό. Από τη μελέτη της εξάγονται συμπεράσματα θεατρολογικού και κοινωνιολογικού ενδιαφέροντος, καθώς το Αρχείο Αθ. Φωτιάδη αποτελεί μία τριπλή παρακαταθήκη στους ερευνητές των επόμενων χρόνων: συνιστά αφ’ ενός ένα είδος άγραφων απομνημονευμάτων του συγγραφέα, αντιπροσωπευτικό της ερευνητικής και συγγραφικής περιπέτειας, αφ’ ετέρου προσφέρει ατόφιο το πρωτογενές του έργο προς κρίση και μελέτη, αλλά παράλληλα συνιστά και μια κιβωτό στοιχείων που χάρη σε εκείνον διέφυγαν της λήθης, και αφορά σε καραγκιοζοπαίκτες -με δράση κυρίως κατά τις δεκαετίες 1960, ’70 και ’80- και τις αναμνήσεις τους.
Στο Θέατρο και τη Λαογραφία επικέντρωσε -μεταξύ άλλων- μελέτες του και ο εκ Κωνσταντινουπόλεως νομικός και λογοτέχνης Αθ. Φωτιάδης (1921-1989), δημιουργώντας ένα ογκώδες σχετικό Αρχείο. Ιδιαίτερη θέση στη συλλογή του καταλάμβανε το Μικροθέατρο και κυρίως το Θέατρο Σκιών. Το Αρχείο Αθ. Φωτιάδη, που υπέστη διαδοχικές εκκαθαρίσεις, ενσωματώθηκε πλέον σε συλλογές διαφορετικών φορέων και ιδιωτών. Το τμήμα του, που βρίσκεται σήμερα στο Αρχείο της υποφαινόμενης, θα παρουσιαστεί εδώ.
Πρόκειται για Αρχείο αποτελούμενο σε γενικές γραμμές από υλικό πατρότητας άλλων (πηγών και μελετών), που συνέλλεγε ο συγγραφέας και υλικό πρωτογενές, που παρήγαγε ο ίδιος. Στη συλλογή περιλαμβάνονται τόσο έντυπα, όσο και χειρόγραφα, δακτυλόγραφα αλλά και οπτικοακουστικό υλικό. Από τη μελέτη της εξάγονται συμπεράσματα θεατρολογικού και κοινωνιολογικού ενδιαφέροντος, καθώς το Αρχείο Αθ. Φωτιάδη αποτελεί μία τριπλή παρακαταθήκη στους ερευνητές των επόμενων χρόνων: συνιστά αφ’ ενός ένα είδος άγραφων απομνημονευμάτων του συγγραφέα, αντιπροσωπευτικό της ερευνητικής και συγγραφικής περιπέτειας, αφ’ ετέρου προσφέρει ατόφιο το πρωτογενές του έργο προς κρίση και μελέτη, αλλά παράλληλα συνιστά και μια κιβωτό στοιχείων που χάρη σε εκείνον διέφυγαν της λήθης, και αφορά σε καραγκιοζοπαίκτες -με δράση κυρίως κατά τις δεκαετίες 1960, ’70 και ’80- και τις αναμνήσεις τους.
Research Interests:
«Outlining D. Maridakes, a multifaceted artist from Syros» D. Maridakes, is included in Greek (Glove) Puppet Theatre («Fasoules»)’s pioneers. At the dawn of his career he was an actor and for many years an illusionist, as well. He was... more
«Outlining D. Maridakes, a multifaceted artist from Syros»
D. Maridakes, is included in Greek (Glove) Puppet Theatre («Fasoules»)’s pioneers. At the dawn of his career he was an actor and for many years an illusionist, as well. He was artistically active during the last quarter of 19th and first years of 20th century. He is considered to be successor of the first Greek puppeteer (Andreas Pogkes from Zakynthos) and master of the most well known, Chrestos Konitisiotes. Despite this acknowledgement though, no specific elements on his biography or author’s work have come to light, so far.
By this essay we aim -based on archival research- at providing answers to puzzling issues of research, such as his origin place, his birth place and date, the name (Demetios, Demos, Demosthenes ?) of the artist, hidden under the initiative letter «D.», his civil status, etch.
Mostly though, we aim at introducing part of his missing writing production and extra elements on his artistic tours around Greece and Cyprus. Adding missing pieces in his artistic portrait, we wish to contribute to theatre history and to his welcoming in Cycladic cultural circles.
D. Maridakes, is included in Greek (Glove) Puppet Theatre («Fasoules»)’s pioneers. At the dawn of his career he was an actor and for many years an illusionist, as well. He was artistically active during the last quarter of 19th and first years of 20th century. He is considered to be successor of the first Greek puppeteer (Andreas Pogkes from Zakynthos) and master of the most well known, Chrestos Konitisiotes. Despite this acknowledgement though, no specific elements on his biography or author’s work have come to light, so far.
By this essay we aim -based on archival research- at providing answers to puzzling issues of research, such as his origin place, his birth place and date, the name (Demetios, Demos, Demosthenes ?) of the artist, hidden under the initiative letter «D.», his civil status, etch.
Mostly though, we aim at introducing part of his missing writing production and extra elements on his artistic tours around Greece and Cyprus. Adding missing pieces in his artistic portrait, we wish to contribute to theatre history and to his welcoming in Cycladic cultural circles.
Research Interests: Folklore, Improvisation, Performing Arts, Theatre Studies, Art, and 46 moreTheatre History, Comedy, Ethnography, Performance Studies, Puppetry, Drama, Spectacle, Culture, Archives, Actor Training and Working Practices, Diaspora, Performance, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Egypt, Greek Theatre, History of Art, Cyprus, Playwriting, 19th Century (History), Molière, Acting, Travelling artists, Theatre Theory, 20th Century, Entertainment, Acting and Directing, Visual Arts, Puppet Theatre, Theatre, Puppet Animation, Fine Arts, Tradition, Cyclades, Shadow Theatre, Artists, Theatre Arts, Smyrna, Magician, Rare Books and Editions, Greek Puppet Theatre, Fasoulis, Syros, Konitsiotes, Maridakes, and Travelling Actors
"Theatre and Shadow Puppet Theatre (Karaghiozis). Survival of traditional theatre comedy of improvisation in Shadow Puppet Theatre: a first approach" ABSTRACT: Although Shadow Puppet Theatre’ dramatology seems to embody a variety of... more
"Theatre and Shadow Puppet Theatre (Karaghiozis). Survival of traditional theatre comedy of improvisation in Shadow Puppet Theatre: a first approach"
ABSTRACT:
Although Shadow Puppet Theatre’ dramatology seems to embody a variety of models, not all aspects of its relation to Theatre have been thoroughly examined.
Heading to a first mapping, three short theatre comedies, traced in unpublished manuscript collection (1917 and on) of a travelling theatre company (M. Rouggeres’), are presented. Performances of these comedies sometimes date back at the end of 19th century and find shelter in various Greek communities’ cells. As theatre comedies’ reflections, three “unsuitable for minors” comedies of Shadow Puppet Theatre are presented in parallel. Their performances often date back in the 1930s but survive in contemporaneous stage as well.
As a result, connection of travelling actors - shadow puppet performers is enlightened and well documented through presented repertoire’s affinities. Additionally, Shadow Puppet Theatre proves to be a hostile field, where probably due to shadow puppet performers’ survival instinct, multiannual tradition of improvised theatre comedies revives through motifs, plays and tactics.
ABSTRACT:
Although Shadow Puppet Theatre’ dramatology seems to embody a variety of models, not all aspects of its relation to Theatre have been thoroughly examined.
Heading to a first mapping, three short theatre comedies, traced in unpublished manuscript collection (1917 and on) of a travelling theatre company (M. Rouggeres’), are presented. Performances of these comedies sometimes date back at the end of 19th century and find shelter in various Greek communities’ cells. As theatre comedies’ reflections, three “unsuitable for minors” comedies of Shadow Puppet Theatre are presented in parallel. Their performances often date back in the 1930s but survive in contemporaneous stage as well.
As a result, connection of travelling actors - shadow puppet performers is enlightened and well documented through presented repertoire’s affinities. Additionally, Shadow Puppet Theatre proves to be a hostile field, where probably due to shadow puppet performers’ survival instinct, multiannual tradition of improvised theatre comedies revives through motifs, plays and tactics.
Research Interests: Cultural Studies, Folklore, Intercultural Communication, Improvisation, Performing Arts, and 37 moreTheatre Studies, Cultural Sociology, Art, Theatre History, Audience as Composer-Performers Events, Comedy, Cultural Heritage, Ethnography, Performance Studies, Contemporary Art, Puppetry, Dramaturgy, Identity (Culture), Performance Art, Drama, Culture, Archives, Oral Traditions, Writing, Cultural Memory, Greek Theatre, Visual Arts, Puppet Theatre, Theatre, Theatricality, Shadow Theatre, Theatre Arts, Naive Art, Folk Art, Decorative and Craft Arts, Greek shadow theatre, Theatrical Text, Audience and performer interaction, Mpouloukia, Lenteres Dionysios, Alexopoulos Dionysios, Plessas Fotes, Giannaros (Giannes Mourelatos), and Markos Xanthos
Μία λιγότερο γνωστή πτυχή των θεατρικών ενδιαφερόντων του αείμνηστου Γιάννη Κατσούρη, ήταν αυτή του Θεάτρου Σκιών (Καραγκιόζη). Ανάμεσα σε άλλα, ως διευθυντής των Πολιτιστικών Υπηρεσιών του Υπουργείου Παιδείας και Πολιτισμού Κύπρου,... more
Μία λιγότερο γνωστή πτυχή των θεατρικών ενδιαφερόντων του αείμνηστου Γιάννη Κατσούρη, ήταν αυτή του Θεάτρου Σκιών (Καραγκιόζη). Ανάμεσα σε άλλα, ως διευθυντής των Πολιτιστικών Υπηρεσιών του Υπουργείου Παιδείας και Πολιτισμού Κύπρου, καλούνταν να εγκρίνει τη χορήγηση τιμητικού καλλιτεχνικού βοηθήματος σε καραγκιοζοπαίκτες της Κύπρου. Σε αυτούς συγκαταλέχθηκε και ο εκ Χλώρακος, Χριστόδουλος Αντωνιάδης (Πάφιος) (1904-1987). Ενδεικτικό της εκτίμησης που έτρεφε ο Γ. Κατσούρης εν γένει για το Θέατρο Σκιών και ειδικότερα για τον καλλιτέχνη Πάφιο, ήταν η διακόσμηση κεντρικού χώρου της οικίας του με φωτιζόμενη σκηνή (μπερντέ) με φιγούρες του.
Ως όψιμη απάντηση στις συζητήσεις μας για την αβέβαιη τύχη χειρογράφων με σενάρια του δραματολογίου του Πάφιου, θα παρουσιασθεί για πρώτη φορά σχετικό χειρόγραφο του καραγκιοζοπαίκτη. Παρά τη διαδεδομένη πεποίθηση πως χειρόγραφα με σενάρια παραστάσεων του Πάφιου δεν διασώθηκαν, το εν λόγω χειρόγραφο εντοπίσθηκε σε ιδιωτική συλλογή. Το χειρόγραφο αυτό αποτελεί σημαντικό συμπλήρωμα του καλλιτεχνικού πορτραίτου του Πάφιου, του οποίου έχουν έως τώρα δημοσιευθεί Απομνημονεύματα και επαγγελματικά Ημερολόγια. Χάρη στο διασωθέν χειρόγραφο επιβεβαιώνεται η ευεργετική -για εμάς- συνήθεια του καλλιτέχνη να καταγράφει έργα του σε σχολικά τετράδια, υπογράφοντάς τα, γεννώντας έτσι προσδοκίες να βρεθούν επιπλέον τετράδια του Αρχείου του.
Στο συγκεκριμένο τετράδιο καταγράφεται σπάνιο έργο του Ελληνικού Θεάτρου Σκιών, με ενδιαφέροντα πιθανά πρότυπα το αρχαίο Δράμα και το Παραμύθι. Η έρευνα σε δημόσια και ιδιωτικά αρχεία Ελλάδας και Κύπρου, έφερε στο φως στοιχεία για παραστάσεις του ίδιου έργου από καραγκιοζοπαίκτες της Ελλάδας, το οποίο ωστόσο δεν φαίνεται να συμπεριλήφθηκε στο δραματολόγιο έτερων Κυπρίων καραγκιοζοπαικτών
Ως όψιμη απάντηση στις συζητήσεις μας για την αβέβαιη τύχη χειρογράφων με σενάρια του δραματολογίου του Πάφιου, θα παρουσιασθεί για πρώτη φορά σχετικό χειρόγραφο του καραγκιοζοπαίκτη. Παρά τη διαδεδομένη πεποίθηση πως χειρόγραφα με σενάρια παραστάσεων του Πάφιου δεν διασώθηκαν, το εν λόγω χειρόγραφο εντοπίσθηκε σε ιδιωτική συλλογή. Το χειρόγραφο αυτό αποτελεί σημαντικό συμπλήρωμα του καλλιτεχνικού πορτραίτου του Πάφιου, του οποίου έχουν έως τώρα δημοσιευθεί Απομνημονεύματα και επαγγελματικά Ημερολόγια. Χάρη στο διασωθέν χειρόγραφο επιβεβαιώνεται η ευεργετική -για εμάς- συνήθεια του καλλιτέχνη να καταγράφει έργα του σε σχολικά τετράδια, υπογράφοντάς τα, γεννώντας έτσι προσδοκίες να βρεθούν επιπλέον τετράδια του Αρχείου του.
Στο συγκεκριμένο τετράδιο καταγράφεται σπάνιο έργο του Ελληνικού Θεάτρου Σκιών, με ενδιαφέροντα πιθανά πρότυπα το αρχαίο Δράμα και το Παραμύθι. Η έρευνα σε δημόσια και ιδιωτικά αρχεία Ελλάδας και Κύπρου, έφερε στο φως στοιχεία για παραστάσεις του ίδιου έργου από καραγκιοζοπαίκτες της Ελλάδας, το οποίο ωστόσο δεν φαίνεται να συμπεριλήφθηκε στο δραματολόγιο έτερων Κυπρίων καραγκιοζοπαικτών
Research Interests: Cultural History, Cultural Studies, Folklore, Greek Tragedy, Performing Arts, and 28 moreTheatre Studies, Art, Theatre History, Cultural Heritage, Ethnography, Popular Culture, Dramaturgy, Rare Books and Manuscripts, Drama, Culture, Archives, Folktales, Cultural Memory, Collective Memory, Cyprus, Collecting and Collections, Visual Arts, Theatre, Oral History and Memory, Oral literature, Folk and Fairy Tales, Shadow Theatre, Oedipus, Scripts, Role of Fate in Oedipus, Greek Shadow Theatre, Karagiozis, Christodoulos Antoniades Pafios, and ATU 9 31
"Tracing political Shadow Puppet Theatre (Karaghiozis), performed in Cyprus and by Greek Immigrants" Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to... more
"Tracing political Shadow Puppet Theatre (Karaghiozis),
performed in Cyprus and by Greek Immigrants"
Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to its scenery (Karaghiozis’ wrecked house opposite Pasha ’s palace) but to its themes, as well. However, in this essay, we shall shortly present performances of Greek shadow puppet performers, who live abroad and focus on specific political facts. We shall introduce bibliographically unknown -in most cases- performances by Greek immigrants and Greeks of Cyprus, attempting to highlight their political beliefs, motives, means and impact.
performed in Cyprus and by Greek Immigrants"
Greek Shadow Puppet Theatre (Karaghiozis) could be seen as widely Political Theatre, not only due to its scenery (Karaghiozis’ wrecked house opposite Pasha ’s palace) but to its themes, as well. However, in this essay, we shall shortly present performances of Greek shadow puppet performers, who live abroad and focus on specific political facts. We shall introduce bibliographically unknown -in most cases- performances by Greek immigrants and Greeks of Cyprus, attempting to highlight their political beliefs, motives, means and impact.
Research Interests: Cultural History, Cultural Studies, Folklore, Art History, Media and Cultural Studies, and 83 morePerforming Arts, Theatre Studies, Design, Art, Theatre History, Adult Education, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Children's Literature, Refugee Studies, Popular Culture, Diasporas, Puppetry, Dramaturgy, Folk Theatre, Immigration, Amusement, Cyprus Studies, Scriptwriting, Migration, Identity (Culture), Performance Art, Politics, Drama, Oral history, Storytelling, Spectacle, Culture, Archives, Oral Traditions, Culture Studies, Performance, Writing, Ethnography (Research Methodology), Communication Of Memory In Archives, Libraries And Museums, Interactive Arts, Greek Theatre, Migration Studies, Diaspora Studies, Political theatre, Traditional Crafts, Cyprus, Dictatorships, Artists' Writings, Adaptation (Literature), Ethnographic fieldwork, Dramaturgy and Scriptwriting, Puppet Theatre, Theatre, Interviewing, Folk arts, Greek political history, Puppetry as a Means of Social Expression, Refugees, The EOKA Struggle in Cyprus during the 1950's, Children, Military Dictatorship, Visual and Performing Arts, Refugees and Forced Migration Studies, Shadow Theatre, Theatre Arts, Theatre and Politics, Theatre and puppetry, Drama and theatre studies, Performing Art, Theatre Studies political theatre contemporary theatre, Naive Art, Folk Art, Decorative and Craft Arts, Political Theater, Greek shadow theatre, Karagiozis, Theatre and National Identity, Karaghiozis and Karagöz, History, Art, Migration, Refugee memory, Artistic Productions, Theatrical Text, EOKA, Music and Performing Arts, Greek Migration, Shadow Puppet Theatre, and Greek Shadow Theatre, Karagiozis
“Be-Witched shadows: approaching Greek Shadow Theatre’s Witches, inspired by Fairy tales” It is widely accepted that Fairy Tales is a basic theme source of Modern Greek (glove & string) Puppet Theatre. However, the relation between... more
“Be-Witched shadows: approaching Greek Shadow Theatre’s Witches, inspired by Fairy tales”
It is widely accepted that Fairy Tales is a basic theme source of Modern Greek (glove & string) Puppet Theatre. However, the relation between Fairy Tales and Greek Shadow (Puppet) Theatre (Karaghiozis) has not yet been thoroughly examined, mostly due to lack of authentic Shadow Theatre’s texts.
As researching, it becomes clear that Greek Shadow Theatre has not only drawn inspiration from History, Theatre, Traditional Puppet Theatre (Fasoulis), Popular Literature, Everyday events, but from Children’s Literature, as well. Such influences can be recognized in thematic field (e.g. “Genovefa”), but in choosing heroes, as well. A closer look reveals that witches tend to be the most popular heroines, transferred from Children Books’ pages to Shadow Theatre screens.
Based on bibliography, oral testimonies and (un)published plays lying in state and private collections, we shall present a registration of shadow theatre plays with casts, enriched by witches. Key questions like “when”, “how”, “why”, “how often”, shall be submitted for reply, broadening the horizons of future research.
It is widely accepted that Fairy Tales is a basic theme source of Modern Greek (glove & string) Puppet Theatre. However, the relation between Fairy Tales and Greek Shadow (Puppet) Theatre (Karaghiozis) has not yet been thoroughly examined, mostly due to lack of authentic Shadow Theatre’s texts.
As researching, it becomes clear that Greek Shadow Theatre has not only drawn inspiration from History, Theatre, Traditional Puppet Theatre (Fasoulis), Popular Literature, Everyday events, but from Children’s Literature, as well. Such influences can be recognized in thematic field (e.g. “Genovefa”), but in choosing heroes, as well. A closer look reveals that witches tend to be the most popular heroines, transferred from Children Books’ pages to Shadow Theatre screens.
Based on bibliography, oral testimonies and (un)published plays lying in state and private collections, we shall present a registration of shadow theatre plays with casts, enriched by witches. Key questions like “when”, “how”, “why”, “how often”, shall be submitted for reply, broadening the horizons of future research.
Research Interests: Folklore, Intercultural Communication, Performing Arts, Theatre Studies, Design, and 85 moreSociology of Children and Childhood, Theatre History, Television Studies, Ethnography, Children's Literature, Popular Culture, Puppetry, Visual Culture, Early Childhood Education, Comics Studies, Amusement, Children's and Young Adult Literature, Child Development, Rare Books and Manuscripts, Identity (Culture), Magic, Oral history, Storytelling, Scenography, Intercultural Performance, Spectacle, Culture, Archives, Folk legends, Cultural Identity, Communication Of Memory In Archives, Libraries And Museums, Literature and Visual Arts, Transmedial Storytelling, In-depth Interviews, Retold Fairy Tales, Children and Media, Television History, Fairytales, Puppet Theatre, Museum Archives, Visual and Cultural Studies, Theatre, Interviewing, Puppetry as an Art Form, Puppetry as an Educational Tool, Sketching, Children's Play, Oral History and Memory, Theatricality, Children, Childhood studies, Interviews, Narration, ERT, Folk and Fairy Tales, Fairy tales, Gorillas, Witchcraft, Fairy-tale studies, Visual and Performing Arts, Shadow Theatre, Fairy Tale, Rare Books Manuscripts and Texts, Theatrical Adaptation, Theatricality and performativity, Witches, Wolf-man, Performing Art, Wizards, Karagiozis, Karaghiozis and Karagöz, Culture rescue and protection, Shadow Theater, Vasilaros, Blazakis, Wizardry, Folk & Fairy Tale Studies, Culture Industries and the Production of Knowledge In the Public Sphere, Lambros Karadimas, Evgenios Spatharis, Giannaros, Magic Spells, Pavlos Marmaras, Christos Stanisis, Yannis Dagiakos, Thanasis Spyropoulos, Giannos Balourdos, Lenteris, Frixos Gazepidis, and Witches In Theatre
Research Interests: Creative Writing, Screenwriting, Aristophanes, Media Studies, Intercultural Communication, and 115 moreMedia and Cultural Studies, Performing Arts, Theatre Studies, Design, Art, Theatre History, Television Studies, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Screen Comedy, Performance Studies, Popular Culture, Manufacturing, Puppetry, Visual Culture, Dramaturgy, Drama Education, Drama In Education, Painting, Identity (Culture), Performance Art, Intercultural Education, Drama, Scenography, Spectacle, Culture, Theater and film, Film Adaptation, Culture Studies, Performance, Television And Children, Media, Screenwriting and Storyboarding, Playwriting, Children and Media, Acting, Television History, Acting and Directing, Dramaturgy and Scriptwriting, Drama and Theater, Puppet Theatre, Television Drama, Theatre, History and Theory of Scenography, Folk arts, Theatre for Children, Aristophanic comedy, Television, Screenplay Studies, Puppetry as an Educational Tool, Theatre Education, Theatre and Film studies, Adaptation Studies, Theatricality, ERT, Folk and Fairy Tales, Drama/Theatre in Education, Children and Young People; Media; Education, Literature-screen adaptation, Television adaptation, Shadow Theatre, Theatre research, Creative Dramatics, Children's Television, Theatrical Adaptation, Narrative, Mulitmedia editing, Journalism, Photojournalism, Storytelling, Audio and Video editing and digitizing, Television Journalism, Visual Communication, Applied Theatre/Theatre for Development, Gender, Culture and Media, Greek television, Theatre, Film and Television, Impact of Television on Children, Theatre Research, Scenography, Performance, Dramatic Arts, Drama in Education and Theatre Arts, Theatricality and performativity, Drama and theatre studies, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Aristófanes, Creative Dramatics as an Effective Tool in Contemporary Education: A Pedagogical Discourse, Greek shadow theatre, Karagiozis, Dramatics, Scenographic Practice, Scenographic Strategies, Educational Theatre, Educational Theatre & Drama, Aristophanes' Acharnians, Theatre/Drama Education, Karaghiozis and Karagöz, Children and Television, Culture, Homer's Odyssey, Artistic Research, Counter Narratives, Performative Writing, Theatre in Education, Theatricality in Film, Spatharis, Erotokritos, Greek Puppet Theatre, TheatreArt , Entertainment Media and Communication,Television and Radio Drama, The Birds by Aristophanes, Chromakey, Theatrical Performance, Theatre and Drama Research, Media and Children, Artistic Productions, Theatrical Text, Pilavios, Sotiris Spatharis, Manthos Athinaios, Koutsouri, Koutalou, Lekkas, Pavrianos, Staikos, Greek Theatre In TV, Performing In TV, and Aristophanes Wealth
Greek immigrants performing Shadow Theatre ("Karaghiozis")
Research Interests: Screenwriting, Cultural Studies, Performing Arts, Theatre Studies, Theatre History, and 92 moreCultural Heritage, Ethnography, Performance Studies, Narrative, Personal Narrative (Social and Cultural Anthropology), Dramaturgy, Folk Theatre, Amusement, Drama Education, Drama In Education, Migration, Identity (Culture), Performance Art, Drama, Cross-Cultural Collaborations, Spectacle, Culture, Archives, Cross-Cultural Studies, Diaspora, Culture Studies, Sound archives, Cultural Identity, Self, Identity, and Memory, Communication Of Memory In Archives, Libraries And Museums, Migration Studies, Diaspora Studies, Political theatre, Archetypes, Playwriting, Acting, Acting and Directing, Dramaturgy and Scriptwriting, Television Drama, Theatre, Visual Dramaturgy, Folk arts, Theatre for Children, Nostalgia, Fine Arts, Theatre for Social Change, Tradition, Cultural change, Refugee theatre, Cross-Cultural Theatre, Digital Anthropologies, Greek drama, Narration, Memoir, Migration and Diaspora, Visual and Performing Arts, Shadow Theatre, String Figures, Theatre Acting, Theatre and Politics, Nostalgia and Memory, Drama, Performance, History of Theatre, Theatre Research, Scenography, Performance, Hero Archetype, Theatre/Drama in relation to artistic-social issues, Drama and theatre studies, Knowledge Practices, Playwriting, Screenwriting, Media Writing, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Performer Spectator Relationships, Human Rights/legal Anthropology, Amateur theatre, Greek shadow theatre, Aachen, Drama/Acting, Spatharis, Avraam Antonakos, Kyriazis, Katsoulis, Ladopoulos, Diakovasilis, Alex Malaos, Evangelos Alexiou, Zouganelis, Michopoulos, Kalamaras, Moutafides, Nick Dennis, Fotis Antonakos, Manolopoulos, Korombilis, Greveniotis, Theatre and Drama Research, Ethnic and 'Non ethnic' Identities, Anthropological Debates, and Evgenios Spatharis
The Greek puppet performer Spyros Kouzaros. Tracing the relationship between two folk greek spectacles: "Karaghiozis" and "Fasoulis".
Research Interests: Folklore, Art History, Performing Arts, Theatre Studies, Design, and 66 moreArt, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Popular Culture, Manufacturing, Contemporary Art, Puppetry, Visual Culture, Dramaturgy, Folk Theatre, Performance Management, Identity (Culture), Cultural Heritage Conservation, Performance Art, Drama, Oral history, Heritage Conservation, Spectacle, Culture, Archives, Cross-Cultural Studies, Performance, Cultural Identity, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Theatrical Space, Traditional Crafts, Playwriting, Ethnographic fieldwork, Recordkeeping and Archives, Dramaturgy and Scriptwriting, Visual Arts, Puppet Theatre, Visual and Cultural Studies, Theatre, Interviewing, Folk arts, Puppetry as an Art Form, Puppetry as an Educational Tool, Puppet Animation, Identity, Oral History and Memory, Theatricality, Puppets, Visual and Performing Arts, Stage Design, Shadow Theatre, Theatre Arts, Popular entertainments: circus, fair midways, amusement parks, variety acts, wild west shows, freaks and animals, etc -- 19th-century printing, advertising, and marketing; consumer goods -- Museum history and the exhibition of marvels and curiosities., Performing Art, Puppets in education, Design Stage, Greek shadow theatre, Karagiozis, Marionettentheater, Art and Art History, Karaghiozis and Karagöz, Kouzaros, Greek Puppet Theatre, Fasoulis, Kukla, Andreikela, and Shadow Puppet Theatre
Research Interests: Cultural History, Cultural Studies, Folklore, Improvisation, Performing Arts, and 57 moreTheatre Studies, Art, Theatre History, Creativity, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Ethnography, Performance Studies, Narrative, Popular Culture, Manufacturing, Puppetry, Painting, Identity (Culture), Performance Art, Performativity, Drama, Spectacle, Culture, Archives, Oral Traditions, Performance, Cultural Identity, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Traditional Crafts, Museum Ethnography, Recordkeeping and Archives, Puppet Theatre, Theatre, Folk arts, Peloponnese, Theatricality, Manufacture, Puppets, folk art AND PAINTING, Folk Art, Visual and Performing Arts, Theatre Improvisation, Shadow Theatre, Museum Collections, Creative Dramatics, Museum Collections (Research), Theatrical Adaptation, Drama, Performance, History of Theatre, Amorgos, Performing Art, Greek shadow theatre, Karagiozis, Arcadia, Dramatics, Megalopolis, Greek folklore, Stemnitsa, Antonis Mollas, Lambros Karadimas, Kostas Gerakis, and Theatrical Process
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Research Interests: Cultural Studies, Art History, Performing Arts, Theatre Studies, Design (Theatre Studies), and 54 moreTheatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Interactive Theatre, Popular Culture, Puppetry, Cyprus Studies, Painting, Magic, Performance Art, Performativity, Drama, Oral history, Cross-Cultural Collaborations, Spectacle, Culture, Archives, Cross-Cultural Studies, Culture Studies, Performance, Greek Theatre, History of Art, Cyprus, Museum Ethnography, Ethnographic fieldwork, Popular/Folk Magic, Set Design (Theatre Studies), Puppet Theatre, Museum Archives, Stage Design (Theatre Studies), Exhibition, Museum, Expositions and Worlds Fairs, Theatre, Creative Drama, Museum and Heritage Studies, Folk magic, Shadow Theatre, Audiovisual Archives, Archives and Documentation, Cultural Heritage Cultural Memory Cultural Studies Folk legends Folklore Folktales History of Folklore Theory and Method Identity (Culture) Languages Mythology, Dramatic Arts, Drama and theatre studies, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Greek shadow theatre, Karagiozis, Dramatics, Magicians, Limnatis, Performance/live Art, Music and Performing Arts, Aradippou, and Tricomo
Research Interests: Cultural Studies, Performing Arts, Theatre Studies, Design (Theatre Studies), Theatre History, and 25 moreEthnography, Performance Studies, Interactive Theatre, Puppetry, Magic, Performance Art, Drama, Oral history, Culture, Cross-Cultural Studies, Culture Studies, Performance, Greek Theatre, Puppet Theatre, Theatre, Puppetry as an Art Form, Puppets, Folk magic, Shadow Theatre, Theatre and puppetry, Drama and theatre studies, Greek shadow theatre, Karagiozis, Karaghiozis and Karagöz, and Interactive and Improvisational Drama/theater
Research Interests: Performing Arts, Theatre Studies, Theatre History, Cultural Heritage, Ethnography, and 42 morePerformance Studies, Popular Culture, Puppetry, Folk Theatre, Amusement, Cyprus Studies, Cultural Heritage Conservation, Performance Art, Cross-Cultural Collaborations, Spectacle, Culture, Cross-Cultural Studies, Cultural Identity, Communication Of Memory In Archives, Libraries And Museums, Playwriting, Adaptation (Literature), Cross-cultural studies (Culture), Puppet Theatre, History and Theory of Scenography, Folk arts, Theatre for Children, Cross-Cultural Communication, Theatricality, Cross-Cultural Theatre, Puppets, Shadow Theatre, Museum Collections (Research), Theatre Research, Scenography, Performance, Traditional Ottoman-Turkish Drama (karagöz, Ortaoyunu), Theatricality and performativity, Drama and theatre studies, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Marionettentheater, Scenographic Strategies, Theater, Scenography + Performance Design, Karaghiozis and Karagöz, Greek Puppet Theatre, Theatre and Drama Research, and Naivety
Research Interests: Performing Arts, Theatre Studies, Design (Theatre Studies), Cultural Heritage, Ethnography, and 31 morePerformance Studies, Puppetry, Cyprus Studies, Cultural Heritage Conservation, Performance Art, Cross-Cultural Collaborations, Archives, Cross-Cultural Studies, Performance, Cultural Identity, Cultural Heritage Recording, Documentation and Information Systems, Communication Of Memory In Archives, Libraries And Museums, Cyprus, Puppet Theatre, Theatre, Folk arts, Cross-Cultural Communication, Puppetry as an Art Form, Fine Arts, Science for Conservation and Restoration of Cultural Heritage, Puppets, Shadow Theatre, Museum Collections, Museum Collections (Research), Cross Cultural Research, Traditional Ottoman-Turkish Drama (karagöz, Ortaoyunu), Nicosia, Cyprus, Greek shadow theatre, Karagiozis, Karaghiozis and Karagöz, and Greek Puppet Theatre
Research Interests: Cultural Studies, Folklore, Performing Arts, Theatre Studies, Art, and 42 moreDesign (Theatre Studies), Theatre History, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Performance Art, Drama, Oral history, Storytelling, Culture, Archives, Collaboration Of Archives, Libraries And Museums, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Oral Tradition, Puppet Theatre, Theatre, Interviewing, Folk arts, Museum Collection history, Puppetry as an Art Form, Puppet Animation, Peloponnese, Narration, Cultura, Visual and Performing Arts, Shadow Theatre, Theatre Arts, Narrative Interviews, Drama, Performance, History of Theatre, Theatre and puppetry, Drama and theatre studies, Greek shadow theatre, Karagiozis, Theater and Performance Studies, Arcadia, Ethnogrpahy, Stemnitsa, Karadimos, and Karagiozis and Karagoz
Research Interests: Art History, Performing Arts, Theatre Studies, Art, Theatre History, and 43 moreCultural Heritage, Ethnography, Performance Studies, Narrative, Popular Culture, Puppetry, Dramaturgy, Folk Theatre, Amusement, Cyprus Studies, Drama In Education, Magic, Cultural Heritage Conservation, Performance Art, Drama, Cross-Cultural Collaborations, Culture, Archives, Cross-Cultural Studies, Culture Studies, Performance, Cultural Identity, Cyprus, Playwriting, Puppet Theatre, Theatre, Folk arts, Theatre for Children, Cross-Cultural Theatre, Narration, Dramaturgia, Puppets, Shadow Theatre, Street Performers, Drama and theatre studies, Theatre Studies, Theatre Theory, playwriting, Performer Spectator Relationships, Greek shadow theatre, Karagiozis, Magicians, Perfoming Studies, Theatrical Text, and Music and Performing Arts
Research Interests: Folklore, Performing Arts, Theatre Studies, Death, Manufacturing, and 17 morePuppetry, Culture, Archives, Drawing, Decorative Arts, Folk Religion, Tradition, Underworld mythology, Shadow Theatre, Theatre Arts, Private Archives, Performing Art, Arcadia, Karaghiozis and Karagöz, Karadimos, Folk Devil, and Greek Shadow Theatre, Karagiozis
A conversation about Greek Shadow Theatre (Karaghiozis), focused on plays and performances inspired by the Greek Revolution of 1821
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Radio conversation on Puppet and Shadow puppet theatre of Cyprus
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"Karaghiozis' Easter in Europe" This essay focuses in the cooperation of performer Evgenios Spatharis and writer Th. Fotiades, which led to their artistic tour in Europe, in March-April of 1971. Performances of "Alexander the Great and... more
"Karaghiozis' Easter in Europe"
This essay focuses in the cooperation of performer Evgenios Spatharis and writer Th. Fotiades, which led to their artistic tour in Europe, in March-April of 1971. Performances of "Alexander the Great and the Dragon" met great success in Greek communities of Germany, german television and Denmark as well. In Denmark, Spatharis - Fotiades met with O.V.Olsen and cooperated in filming Karaghiozis' performance etch.
This essay focuses in the cooperation of performer Evgenios Spatharis and writer Th. Fotiades, which led to their artistic tour in Europe, in March-April of 1971. Performances of "Alexander the Great and the Dragon" met great success in Greek communities of Germany, german television and Denmark as well. In Denmark, Spatharis - Fotiades met with O.V.Olsen and cooperated in filming Karaghiozis' performance etch.
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Research Interests: Cultural History, Cultural Studies, Folklore, Art History, Media and Cultural Studies, and 52 morePerforming Arts, Theatre Studies, Theatre History, Museum Studies, Cultural Heritage, Ethnography, Performance Studies, Children's Literature, Popular Culture, Puppetry, Visual Culture, Dramaturgy, Folk Theatre, Cyprus Studies, Cultural Heritage Conservation, Performance Art, Drama, Heritage Conservation, Spectacle, Culture, Archives, Cross-Cultural Studies, Biography, Culture Studies, Cultural Identity, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Political theatre, Museums and Identity, Cyprus, Cyprus Studies (Anthropology), Collecting and Collections, Puppet Theatre, Theatre, Puppetry as an Art Form, Puppetry as an Educational Tool, Puppet Animation, Children, Shadow Theatre, Theatre Arts, Social Political Theatre, Theatre and puppetry, Drama and theatre studies, Nicosia, Cyprus, Political Theater, Karagiozis, Marionettentheater, Art and Art History, Biografías, Karaghiozis and Karagöz, Shadow Theater, and Shadow Puppet Theatre
Research Interests: Cultural History, Cultural Studies, Folklore, Aesthetics, Performing Arts, and 61 moreTheatre Studies, Art, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Children's Literature, Popular Culture, Puppetry, Dramaturgy, Social and Cultural Anthropology, Cyprus Studies, Drama In Education, Identity (Culture), Cultural Heritage Conservation, Performance Art, Applied Drama/Theatre, Drama, Oral history, Spectacle, Culture, Archives, Oral Traditions, Cross-Cultural Studies, Performance, Cultural Identity, Greek Theatre, Literature and Visual Arts, Political theatre, Cyprus, Playwriting, Visual Arts, Puppet Theatre, Theatre, Interviewing, Folk arts, Puppetry as an Art Form, Theatre Education, Oral History and Memory, Tradition, Cross-Cultural Theatre, Children, Childhood studies, Dramaturgia, Drama/Theatre in Education, Folk Art, Shadow Theatre, Social Political Theatre, Drama, Performance, History of Theatre, Dramatic Arts, Cultural Studies, Theoretical Theatre Studies, Drama and theatre studies, Nicosia, Cyprus, Greek shadow theatre, Karagiozis, Marionettentheater, Karaghiozis and Karagöz, Shadow Theater, Artistic Productions, and History of the Theater
Research Interests: Cultural History, Cultural Studies, Media and Cultural Studies, Performing Arts, Theatre Studies, and 70 moreCultural Sociology, Art, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Heritage Studies, Refugee Studies, Popular Culture, Puppetry, Dramaturgy, Folk Theatre, Amusement, History and Memory, Identity (Culture), Cultural Heritage Conservation, Performance Art, Performativity, Drama, Heritage Conservation, Spectacle, Culture, Oral Traditions, Cross-Cultural Studies, Culture Studies, Performance, Cultural Identity, Turkey, Social and Collective Memory, Cultural Memory, Archetypes, Traditional Crafts, Playwriting, World Cultural Heritage, Entertainment, Puppet Theatre, Theatre, Cultural Exchange, InterCultural Studies, Folk arts, Theatre for Children, Intercultural dialogue, Refugees, Fine Arts, Identity, Theatre and Film studies, Oral History and Memory, Theatricality, Cross-Cultural Theatre, Asia Minor, Shadow Theatre, Theatre Directing and Playwriting, String Figures, Theatre Arts, Drama, Performance, History of Theatre, Hero Archetype, Drama and theatre studies, Naive Art, Folk Art, Decorative and Craft Arts, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Greeks in Asia Minor, Acting and Performance, Conservation of Cultural Heritage, Karaghiozis and Karagöz, Greek Puppet Theatre, Refugee memory, Artistic Productions, and Naivety
Information on the first travel and performances of the Greek shadow puppet (Karaghiozis) performers Sotiris & Evgenios Spatharis, in Cyprus
Research Interests: Cultural History, Cultural Studies, Media and Cultural Studies, Performing Arts, Theatre Studies, and 40 moreArt, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Ethnography, Performance Studies, Narrative, Popular Culture, Puppetry, Cyprus Studies, Performance Art, Drama, Spectacle, Culture, Archives, Cross-Cultural Studies, Performance, Collaboration Of Archives, Libraries And Museums, Communication Of Memory In Archives, Libraries And Museums, Cyprus, Museum Ethnography, Cross-cultural studies (Culture), Recordkeeping and Archives, Theatre, Folk arts, Oral History and Memory, Theatricality, Interviews, Shadow Theatre, Theatre Arts, Museum Collections (Research), Dramatic Arts, Drama and theatre studies, Nicosia, Cyprus, Newspaper Archives, Greek shadow theatre, Karagiozis, Dramatics, Karaghiozis and Karagöz, Spatharis, and Artistic Productions
In memory of his birth, a presenatation of a narration of Vaggos (Vaggelis Korfiatis), shadow puppet (Karaghiozis) performer from Piraeus, concerning his first steps in the field of Shadow Theatre (Karaghiozis).
Research Interests: Cultural History, Cultural Studies, Folklore, Aesthetics, Art History, and 77 morePerforming Arts, Theatre Studies, Art, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Visual Culture, Dramaturgy, Social and Cultural Anthropology, Folk Theatre, Amusement, Performance Management, Identity (Culture), Cultural Heritage Conservation, Performance Art, Drama, Oral history, Spectacle, Culture, Archives, Oral Traditions, Cross-Cultural Studies, Biography, Culture Studies, Sound archives, Performance, Cultural Memory, History of Art, Memoir and Autobiography, Artists' Writings, Visual Arts, Puppet Theatre, Memoir Writing, Theatre, Folk arts, Theatre for Children, Folk Culture, Fine Arts, Oral History and Memory, Theatricality, Science for Conservation and Restoration of Cultural Heritage, Interviews, Narration, Oral History and Documentary, Puppets, Cultura, Folk Art, Nikaia, Visual and Performing Arts, Piraeus, Shadow Theatre, String Figures, Theatre research, Theatre Research, Scenography, Performance, Dramatic Arts, Theatricality and performativity, Drama and theatre studies, Performing Art, Naive Art, Folk Art, Decorative and Craft Arts, Greek shadow theatre, Karagiozis, Dramatics, Art and Art History, Performing Arts, Folk Culutur,education, Oral History, Charidimos, Theatre and Drama Research, Art Appreciation, Naivety, Karagiozis and Karagoz, Iatrides, Karagiozopaichtis, Iatridis, and Pireus
A short presentation of an unpubblished play of shadow theatre researcher Thanasis Fotiadis, combining Shadow Theatre and Theatre of Actors, where the main roles are performed by Karaghiozis and Makrygiannis.
Research Interests: Cultural History, Cultural Studies, Folklore, Art History, Performing Arts, and 76 moreTheatre Studies, Art, Theatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Research Methodology, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Contemporary Art, Puppetry, Visual Culture, Dramaturgy, Amusement, Drama In Education, Rare Books and Manuscripts, Identity (Culture), Cultural Heritage Conservation, Performance Art, Oral history, Scenography, Spectacle, Culture, Archives, Oral Traditions, Culture Studies, Cultural Identity, Writing, Cultural Memory, Communication Of Memory In Archives, Libraries And Museums, Greek Theatre, Playwriting, Oral Traditions (Culture), Special Collections, Dramaturgy and Scriptwriting, Visual Arts, Puppet Theatre, Theatre, Visual Dramaturgy, Theatre for Children, Fine Arts, Manuscripts, Dramaturgia, Drama/Theatre in Education, Neohellenic Literature, Playwrighting, Stage Design, Shadow Theatre, Theatre Directing and Playwriting, Theatre research, Greek Revolution, Drama, Performance, History of Theatre, Theatre Research, Scenography, Performance, Dramatic Arts, Drama in Education and Theatre Arts, Theatre and puppetry, Drama and theatre studies, Playwriting, Screenwriting, Media Writing, Theatre Studies, Theatre Theory, playwriting, Greek shadow theatre, Karagiozis, Dramatics, Scenographic Strategies, Art and Art History, Karaghiozis and Karagöz, Drama, Contremporary Performance, Playwriters, Fotiadis, Fotiadis, Makrygiannis, Makrygiannis, Makrygiannis, Makrygiannis, Spyropoulos, Fotiades, Androutsos, and Theatrical Text
Research Interests: Cultural Studies, Aesthetics, Art History, Performing Arts, Theatre Studies, and 57 moreDesign, Art, Design (Theatre Studies), Theatre History, Cultural Heritage, Ethnography, Performance Studies, Popular Culture, Puppetry, Visual Culture, Dramaturgy, Cyprus Studies, Identity (Culture), Cultural Heritage Conservation, Drama, Scenography, Culture, Archives, Cultural Heritage Recording, Documentation and Information Systems, Greek Theatre, Drawing, History of Art, Cyprus, Museum Ethnography, World Cultural Heritage, Travelling artists, Visual Arts, Puppet Theatre, Theatre, History and Theory of Scenography, Visual Dramaturgy, Folk arts, Theatre for Children, Puppetry as an Art Form, Puppet Animation, Fine Arts, Puppets, Cultura Popular, Advertisements, Cultura, folk art AND PAINTING, Folk Art, Art and Design, Shadow Theatre, Theatre Arts, Museum Collections (Research), Theatre Research, Scenography, Performance, Dramatic Arts, Nicosia, Cyprus, Greek shadow theatre, Karagiozis, Dramatics, Scenographic Strategies, Art and Art History, Spatharis, Art Appreciation, and Theatre Advertisement
"Lampros Karadimas: the Peloponnesian puppet shadow performer and Shadow Theatre"
Research Interests: Cultural Studies, Art History, Performing Arts, Theatre Studies, Art, and 66 moreTheatre History, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, Cultural Heritage, Ethnography, Performance Studies, Narrative, Popular Culture, Puppetry, Dramaturgy, Folk Theatre, Amusement, Cultural Heritage Conservation, Performance Art, Performativity, Drama, Oral history, Spectacle, Culture, Archives, Cross-Cultural Studies, Culture Studies, Performance, Cultural Heritage Recording, Documentation and Information Systems, Communication Of Memory In Archives, Libraries And Museums, Museum Ethnography, Visual Theatre, Recordkeeping and Archives, Acting and Directing, Dramaturgy and Scriptwriting, Puppet Theatre, Theatre, History and Theory of Scenography, Folk arts, Peloponnese, Live Performance, Oral History and Memory, Theatricality, Narration, Screen Acting, Dramaturgia, Puppets, folk art AND PAINTING, Visual and Performing Arts, Scenography and Design, Shadow Theatre, String Figures, Theatre research, Museum Collections (Research), Theatre Research, Scenography, Performance, Dramatic Arts, Theatricality and performativity, Drama and theatre studies, Performing Art, Greek shadow theatre, Arcadia, Dramatics, Scenographic Strategies, Art and Art History, Cultural Heritage Protection and Conservation, Arcades, Stemnitsa, Theatre and Drama Research, Theatrical Text, Performance/live Art, Music and Performing Arts, and Naivety
Research Interests: Cultural Studies, Folklore, Performing Arts, Theatre Studies, Becoming an Artist--who becomes one, how, why, under what circumstances, at what costs, and 14 moreManufacturing, Puppetry, Comics, Playwriting, Entertainment, Theatre, Sketching, Child, Humour, Artists, Theatre Arts, Karagiozis, Spatharis, and Greek Shadow Theatre, Karagiozis
Research Interests:
Research Interests:
Πρακτικά της επιστημονικής ημερίδας «Το πατριωτικό δράμα του θεάτρου σκιών. Προφορική τέχνη και τεκμηρίωση», που οργάνωσε η επιστημονική και καλλιτεχνική εταιρεία Οθόνιον στις 23 Δεκεμβρίου 2021, στο Μουσείο Νεότερου Ελληνικού Πολιτισμού... more
Πρακτικά της επιστημονικής ημερίδας «Το πατριωτικό δράμα του θεάτρου σκιών. Προφορική τέχνη και τεκμηρίωση», που οργάνωσε η επιστημονική και καλλιτεχνική εταιρεία Οθόνιον στις 23 Δεκεμβρίου 2021, στο Μουσείο Νεότερου Ελληνικού Πολιτισμού στην Πλάκα.
Η έκδοση είναι ψηφιακή και σκοπεύει στην επανασύσταση σε ένα ευρύ κοινό ενός μεγάλου κεφαλαίου της ελληνικής δραματουργίας που έχει στο επίκεντρο τα ηρωϊκά έργα τα οποία έχουν γραφτεί ειδικά για το θέατρο σκιών ή έχουν εμπνευστεί από το θέατρο σκιών. Στο βιβλίο συμμετέχουν οι ειδικοί ερευνητές του θεάτρου σκιών, θεατρολόγοι, καραγκιοζοπαίχτες, επιστήμονες και καλλιτέχνες Ιωσήφ Βιβιλάκης, Άθως Δανέλλης, Nίκη Δάφνη, Μαρία-Μαγδαληνή Κακόνι, Κατερίνα Καρρά, Μαρίνα Καψαμπέλλη, Γιώργος Κωτσίνης, Γιάννης Νταγιάκος, Ιωάννα Παπαγεωργίου, Βάλτερ Πούχνερ, Άννα Σταυρακοπούλου, Ελένη Τζαβολάκη, Νικόλας Τζιβελέκης, Σπύρος Τούλιος, Γιάννης Χατζής, Ανθή Γ. Χοτζάκογλου.
Στον τόμο, ο οποίος περιλαμβάνει πλούσιο εικονογραφικό υλικό, στο πρώτο μέρος περιέχονται οι πρωτότυπες ομιλίες των εισηγητών στις εξής ενότητες: α) Εναρκτήρια συνεδρία, β) Θίασοι-Ρεπερτόριο-Δραματουργία, γ) Ενδυματολογία-Μουσική-Εφαρμογές, δ) Αρχεία-Τεκμήρια-Αναβιώσεις και ε) Συζήτηση για το μέλλον του πατριωτικού δράματος. Στο δεύτερο μέρος αποτυπώνεται η παράσταση θεάτρου σκιών που παρουσιάστηκε στην εκδήλωση με πρωταγωνιστή τον στρατηγό Μακρυγιάννη με τους παίκτες Άθω Δανέλλη και Νικόλα Τζιβελέκη.
Επιστημονική επιμέλεια: Ιωσήφ Βιβιλάκης
Επιμέλεια έκδοσης: Ιωσήφ Βιβιλάκης, Μάνος Δαμασκηνός.
ISBN 978-618-86398-0-5
Το βιβλίο είναι έκδοση της Αστικής Μη Κερδοσκοπικής Εταιρείας «Οθόνιον» έχει αναρτηθεί στο διαδίκτυο και είναι ελεύθερα προσβάσιμο.
Σύνδεσμος έκδοσης: https://othonion.files.wordpress.com/2022/12/patriotiko-drama-theatrou-skion-praktika-y.a.pdf
Η έκδοση είναι ψηφιακή και σκοπεύει στην επανασύσταση σε ένα ευρύ κοινό ενός μεγάλου κεφαλαίου της ελληνικής δραματουργίας που έχει στο επίκεντρο τα ηρωϊκά έργα τα οποία έχουν γραφτεί ειδικά για το θέατρο σκιών ή έχουν εμπνευστεί από το θέατρο σκιών. Στο βιβλίο συμμετέχουν οι ειδικοί ερευνητές του θεάτρου σκιών, θεατρολόγοι, καραγκιοζοπαίχτες, επιστήμονες και καλλιτέχνες Ιωσήφ Βιβιλάκης, Άθως Δανέλλης, Nίκη Δάφνη, Μαρία-Μαγδαληνή Κακόνι, Κατερίνα Καρρά, Μαρίνα Καψαμπέλλη, Γιώργος Κωτσίνης, Γιάννης Νταγιάκος, Ιωάννα Παπαγεωργίου, Βάλτερ Πούχνερ, Άννα Σταυρακοπούλου, Ελένη Τζαβολάκη, Νικόλας Τζιβελέκης, Σπύρος Τούλιος, Γιάννης Χατζής, Ανθή Γ. Χοτζάκογλου.
Στον τόμο, ο οποίος περιλαμβάνει πλούσιο εικονογραφικό υλικό, στο πρώτο μέρος περιέχονται οι πρωτότυπες ομιλίες των εισηγητών στις εξής ενότητες: α) Εναρκτήρια συνεδρία, β) Θίασοι-Ρεπερτόριο-Δραματουργία, γ) Ενδυματολογία-Μουσική-Εφαρμογές, δ) Αρχεία-Τεκμήρια-Αναβιώσεις και ε) Συζήτηση για το μέλλον του πατριωτικού δράματος. Στο δεύτερο μέρος αποτυπώνεται η παράσταση θεάτρου σκιών που παρουσιάστηκε στην εκδήλωση με πρωταγωνιστή τον στρατηγό Μακρυγιάννη με τους παίκτες Άθω Δανέλλη και Νικόλα Τζιβελέκη.
Επιστημονική επιμέλεια: Ιωσήφ Βιβιλάκης
Επιμέλεια έκδοσης: Ιωσήφ Βιβιλάκης, Μάνος Δαμασκηνός.
ISBN 978-618-86398-0-5
Το βιβλίο είναι έκδοση της Αστικής Μη Κερδοσκοπικής Εταιρείας «Οθόνιον» έχει αναρτηθεί στο διαδίκτυο και είναι ελεύθερα προσβάσιμο.
Σύνδεσμος έκδοσης: https://othonion.files.wordpress.com/2022/12/patriotiko-drama-theatrou-skion-praktika-y.a.pdf
Research Interests:
Μια ολοήμερη συνάντηση Καραγκιόζη & Φασουλή μέσα από τα μάτια διαπρεπών ερευνητών και καλλιτεχνών. Άνθρωποι που αγαπούν, μελετούν, ερευνούν αρχειακά ή παρουσιάζουν από σκηνής τους συγγενείς κωμικούς λαϊκούς ήρωες σε ποικίλες μορφές τους,... more
Μια ολοήμερη συνάντηση Καραγκιόζη & Φασουλή μέσα από τα μάτια διαπρεπών ερευνητών και καλλιτεχνών. Άνθρωποι που αγαπούν, μελετούν, ερευνούν αρχειακά ή παρουσιάζουν από σκηνής τους συγγενείς κωμικούς λαϊκούς ήρωες σε ποικίλες μορφές τους, ξεκινούν από Αττική, Πελοπόννησο, Θεσσαλία, Επτάνησα, Μακεδονία, Τουρκία, Αυστρία, Ιταλία και ΗΠΑ για να συναντηθούν ζωντανά και διαδικτυακά και να αναδείξουν πτυχές των ηρώων μέσα από πρίσμα ιστορικό, καλλιτεχνικό, κοινωνικό, παιδαγωγικό, θεατρολογικό, ψυχαγωγικό, ανθρωπολογικό.