Michalis Georgiou
Linnaeus University, Digital Humanities, Master Programme, Graduate Student
- Education, Ancient History, Classics, Ancient Greek History, Greek Literature, Classical philology, and 37 moreGreek History, Greek Tragedy, Hellenistic History, Euripides, Bacchae, Erika Fischer-Lichte, Hans-Thies Lehmann, Aeschylus, Persae, Postdramatic theatre, Theatre Studies, Performance Studies, Modern Greek Theatre, Modern Greek Studies, Modern Greek History, Political theatre, Greek Theatre, Ancient Greek and Roman Theatre, Euripides, Dionysus, Theatre History, Modern Greek literature, Aeschylus, Reception Studies, Classical Reception Studies, Modern Greece, Ancient Greek Tragedy and its Reception, Sophocles, Reception of Antiquity, Theatre Theory, Experimental Theatre, Audience and Reception Studies, Bertolt Brecht, Nazım Hikmet, ΕΥΡΩΠΑΪΚΟΣ ΠΟΛΙΤΙΣΜΟΣ, Αύρα Ξεπαπαδάκου, Globalisation and Development, Digital Humanities, and Digitization and the Music Industryedit
- Ι was born in Athens in 1983. Ι graduated from the department of Theatre Studies of the University of Athens in 2007 ... moreΙ was born in Athens in 1983. Ι graduated from the department of Theatre Studies of the University of Athens in 2007 and I received my PHD from the Freie Universität Berlin in 2014. I have many years of experience working for the cultural industry both in Greece and in Germany. From September 2015 to December 2016 I worked as Head of the Cultural Office at the BAAL Novo Theater in Offenburg in Germany. From June 2017 to August 2018 I worked as a Copyright Officer at ICE International Copyright Enterprise, where I was responsible for the administration of international copyright song registrations: reviewing, comparing, and updating the copyright data in the database in accordance with the business rules. My responsibilities as Manager, Royalty Processing at BMG Company included: the import of data Assignment of international songs in license accounting systems, taking into account contractual features and different territories, investigation in databases of various collecting societies, as well as other music databases.edit
The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those... more
The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesti...
Research Interests:
Αντικeίμeνο του άρθρου αποτeλeί η μαθητeία και η eπαγγeλματική δραστηριότητα που ανέπτυξe ο ηθοποιός και σκηνοθέτης Θωμάς Οικονόμου σe Βιέννη και Γeρμανία, την πeρίοδο πριν την άφιξή του στην Αθήνα, το 1900. Αξιοποιώντας αρχeία της... more
Αντικeίμeνο του άρθρου αποτeλeί η μαθητeία και η eπαγγeλματική δραστηριότητα που ανέπτυξe ο ηθοποιός και σκηνοθέτης Θωμάς Οικονόμου σe Βιέννη και Γeρμανία, την πeρίοδο πριν την άφιξή του στην Αθήνα, το 1900. Αξιοποιώντας αρχeία της Αυστρίας, αναδeικνύουμe στοιχeία που αφορούν στα πρώτα χρόνια του στη Βιέννη, στη μαθητeία του στο Κονσeρβατόριο της Βιέννης και τους ρόλους που eρμήνeυσe ως σπουδαστής στη Δραματική Σχολή, υπό τη διδασκαλία διάσημων καθηγητών υποκριτικής και ηθοποιών του Μπουργκτeάτeρ. Παρακολουθώντας τις πeριπλανήσeις του στα eπαρχιακά θέατρα της Γeρμανίας, αναδeικνύeται η θeατρική δράση του ηθοποιού, η οποία ολοκληρώνeται μe την πρόσληψή του στο θέατρο του Μάινινγκeν το 1899. Η πρόσληψη αυτή αποτeλούσe σημαντική eξέλιξη στην καριέρα του, καθώς το θέατρο του Μάινινγκeν eίχe αποτeλέσeι τις προηγούμeνeς δeκαeτίeς καινοτόμο eπαρχιακό γeρμανικό θέατρο και ήταν διάσημο, λόγω της δράσης του σκηνοθέτη του, Γeώργιου Β΄ Δούκα του Σαξ- Μάινινγκeν . Στο θέατρο αυτό, ο Οικονόμου συ...
Research Interests:
The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those... more
The aim of this study is to highlight: 1. how the introduction of new technologies in
Drama Education at school can renew the context in which performance projects
take place and 2. how the constraints imposed by a pandemic, such as those caused
by COVID-19, can be overcome through cybertheatre. The phenomenological
method is used to analyze a digital and a cyberperformance project, as theatre is an
event that takes place between its creators and its spectators. With the use of digital
tools in school performances a new experience emerges for students and spectators,
as the "living" actor is combined with "non-human" actors. Besides, the
cyberperformance provides a solution to a real problem in the midst of a pandemic
crisis, as the spectators participate remotely from the comfort of their own home. In
terms of interactivity, by giving the spectator the opportunity to use some information
or to choose the action of the play, the performances become more interesting, while
theatre is being highlighted, as an event that differs from other media such as T.V. or
cinema. Finally, the dialogue that can be produced in a chat-forum in
cyberperformance works as a reflection to it.
Drama Education at school can renew the context in which performance projects
take place and 2. how the constraints imposed by a pandemic, such as those caused
by COVID-19, can be overcome through cybertheatre. The phenomenological
method is used to analyze a digital and a cyberperformance project, as theatre is an
event that takes place between its creators and its spectators. With the use of digital
tools in school performances a new experience emerges for students and spectators,
as the "living" actor is combined with "non-human" actors. Besides, the
cyberperformance provides a solution to a real problem in the midst of a pandemic
crisis, as the spectators participate remotely from the comfort of their own home. In
terms of interactivity, by giving the spectator the opportunity to use some information
or to choose the action of the play, the performances become more interesting, while
theatre is being highlighted, as an event that differs from other media such as T.V. or
cinema. Finally, the dialogue that can be produced in a chat-forum in
cyberperformance works as a reflection to it.
Research Interests:
This chapter is based on Georgiou’s professional engagement as dramaturge in two projects organized between 2016 and 2017 by Germany’s Baal Novo Theater. Michalis shows how applied theatre where refugees share narratives creates a... more
This chapter is based on Georgiou’s professional engagement as dramaturge in two projects organized between 2016 and 2017 by Germany’s Baal Novo Theater. Michalis shows how applied theatre where refugees share narratives creates a community with the audience in order to revise given perceptions. The project Afrika! raises a debate about nationality and citizenship that fosters intercultural dialogue, while in the second project, In the Waiting Room of the Dreams, the rehearsal process becomes a continual work-in-progress adapted to the interests of refugees, resulting in discussions of the sociopolitical and aesthetic relationship at its heart.
Research Interests: Performing Arts, Theatre Studies, Refugee Studies, Performance Art, Applied Drama/Theatre, and 11 moreMigration Studies, Dramaturgy In Participatory Theatre, German Theatre, Theatre Theory, Experimental Theatre, Refugee theatre, Participatory Theatre, Refugees and Forced Migration Studies, Theatre Arts, Theater and Performance Studies, and Refugee memory
Between the years of 1879 and 1883, the German zoologist and litterateur Hermann von Maltzan (born in Rostock in 1843) embarked upon a zoological research journey that encompassed the Iberian Peninsula, French Senegambia, and eventually... more
Between the years of 1879 and 1883, the German zoologist and litterateur Hermann von Maltzan (born in Rostock in 1843) embarked upon a zoological research journey that encompassed the Iberian Peninsula, French Senegambia, and eventually culminated in Crete and western Turkey. After his return, while situated in Berlin and influenced by the post-revolutionary situation in Crete (he visited the island four years after the revolution of ’78), he authored and published the historical romantic drama Melidoni; a work set in Crete, during the 1821 Greek Revolution against the Ottomans. In this paper, I attempt an analysis of Maltzan’s drama, a piece yet to be studied fully. Firstly, I examine the relationship between the drama and the long tradition of German philhellenism, a phenomenon rooted in the growing German interest in the descendants of the ancient inhabitants of Greece, combining a devotion to antiquity with the Christian reverence expressed by German nationalism. Secondly, I focus on examining the deeper political reasons behind Maltzan’s choice to write a play based on the armed insurrection of the Greeks against the Ottoman Empire. These reasons are related to the German colonial plans drawn up by colonial organizations opposed to Bismarck’s official policies. These plans concern both the small core of Asia and certain Middle Eastern provinces; a policy directly connected to the desire to see a rapid dismantling of the Ottoman Empire.
Research Interests: Colonialism, Post-Colonialism, French colonialism, Settler Colonialism & Its Legacies, Philhellenism, and 9 moreModern Greek Theatre, Romantic Hellenism & philhellenism, German philhellenism, Archaeology of Colonialism, Greek Literature of 18th century-1821, Poetics and rhetoric (18th century-1821), German Theater, Colonialism and Imperialism, and Hellenic Revolution of 1821
Research Interests:
Michalis GEORGIOU, The Royal Theater in Athens: Α naturalized national house. The construction of the building of the Royal Theater in Athens began in 1892, on theinitiative of King George I. Nevertheless, the construction works were... more
Michalis GEORGIOU, The Royal Theater in Athens: Α naturalized national house.
The construction of the building of the Royal Theater in Athens began in 1892, on theinitiative of King George I. Nevertheless, the construction works were interrupted in 1897 due to the Greek-Turkish war. Greece came under international economic supervision and Germany became a key regulator of the Greek-Turkish issue. The Greek political system
was considered to be at fault for the defeat and the national humiliation. The Palace’s aspirations to reform the state apparatus, based on the German model, integrated procedures for the establishment of the theater. The German theatrical model, which was transferred to Greece for the organization of the Royal Theater, was developed under political changes that occurred under the influence of the German Revolutions of 1848-1849. These revolutions demonstrated the desire for increased political freedom and nationalism. In the theatrical world, the goal of the reformers was to transform theater into a social institution, putting it under state supervision as church and school were. These progressive efforts were not fully completed as theaters were censored by the Ministry of Culture, supervised by the King. The German theatrical model could serve King George’s desire for a Royal Theater that was under his surveillance and would provide national aspirations.
The construction of the building of the Royal Theater in Athens began in 1892, on theinitiative of King George I. Nevertheless, the construction works were interrupted in 1897 due to the Greek-Turkish war. Greece came under international economic supervision and Germany became a key regulator of the Greek-Turkish issue. The Greek political system
was considered to be at fault for the defeat and the national humiliation. The Palace’s aspirations to reform the state apparatus, based on the German model, integrated procedures for the establishment of the theater. The German theatrical model, which was transferred to Greece for the organization of the Royal Theater, was developed under political changes that occurred under the influence of the German Revolutions of 1848-1849. These revolutions demonstrated the desire for increased political freedom and nationalism. In the theatrical world, the goal of the reformers was to transform theater into a social institution, putting it under state supervision as church and school were. These progressive efforts were not fully completed as theaters were censored by the Ministry of Culture, supervised by the King. The German theatrical model could serve King George’s desire for a Royal Theater that was under his surveillance and would provide national aspirations.
Research Interests:
Research Interests:
Research Interests: Cultural Studies, Identity (Culture), Nationalism, National Identity, Nationalism And State Building, and 14 moreCultural Memory, German Theatre, History of Nationalism and Nation-Building, Collective Identity, Ancient Greek Tragedy Performance History, Aeschylus Oresteia, Ethnicity and National Identity, Theatre and National Identity, Antigone Sophocles, The development of Greek national ideology, Greek Theater, Ancient Monuments and Performing Arts, Costis Bastias and the Greek National Theater, and Euripides Alcestis
Οι Βάκχες του Ευριπίδη¬ αποτελούν ένα έργο, για τη σκηνική αναβίβαση του οποίου¬ ελάχιστο ενδιαφέρον είχε υπάρξει στη θεατρική σκηνή παγκοσμίως μέχρι τη δεκαετία του 1960, όταν το θέμα της «θυσίας» επανήλθε στο προσκήνιο της δυτικής... more
Οι Βάκχες του Ευριπίδη¬ αποτελούν ένα έργο, για τη σκηνική αναβίβαση του οποίου¬ ελάχιστο ενδιαφέρον είχε υπάρξει στη θεατρική σκηνή παγκοσμίως μέχρι τη δεκαετία του 1960, όταν το θέμα της «θυσίας» επανήλθε στο προσκήνιο της δυτικής κουλτούρας, επαναπροσδιορίζοντας τη σχέση θεάτρου και τελετουργίας. Συγκεκριμένα, μέχρι το ’50 οι Βάκχες είχαν παρουσιαστεί δύο φορές στο Λονδίνο – το 1908 σε σκηνοθεσία William Poel και το 1912 σε σκηνοθεσία Harley Granville-Barker – και δύο φορές στο θέατρο Συρακουσών – το 1922 σε σκηνοθεσία Ettore Romagnoli και το 1950 σε σκηνοθεσία Guido Salvini, με την τελευταία να αποτελεί την παράσταση με τη μεγαλύτερη απήχηση. Την περίοδο αυτή η αμερικανική επαγγελματική θεατρική σκηνή δεν είχε να επιδείξει κάποια παράσταση των Βακχών. Η περιορισμένη παρουσία του έργου σχετίζεται με την αμηχανία που δημιουργούσε σε φιλόλογους και καλλιτέχνες η ιδιαίτερη φύση του. Αν και η γένεση της τραγωδίας προήλθε από τη διονυσιακή λατρεία, το έργο αυτό είναι το μοναδικό με γνήσια διονυσιακή υπόθεση, εξιστορώντας την έλευση του ανθρωποποιημένου θεού Βάκχου (Διόνυσου) στη Θήβα, κατά την οποία ο Πενθέας φονεύεται από τις Μαινάδες με πρώτη τη μητέρα του Αγαύη, διότι αμφισβήτησε τη λατρεία του θεού.
Η παρούσα ανακοίνωση επιχειρεί να περιγράψει την ιστορία των παραστάσεων των Βακχών στην Ελλάδα, συσχετίζοντάς τις με τις ευρωπαϊκές σκηνοθετικές εξελίξεις, αλλά και τον εν εξελίξει μετασχηματισμό της ελληνικής κοινωνίας. Μέσα από τα διαθέσιμα τεκμήρια, ανασυγκροτούμε μια διαδρομή που ξεκινά το 1950, με την ιδεαλιστική σκηνοθεσία των Βακχών από τον Λίνο Καρζή για το Θυμελικό Θίασο. Οι σκηνοθεσίες των Βακχών επεκτείνουν, παραμένουν σε διάλογο ή ανατρέπουν κάθε φορά τις προηγηθείσες προβληματικές της αμφίσημης και «ανοιχτής» ερμηνευτικά, μυθικής δυναμικής της διονυσιακής ουσίας. Παράλληλα έρχονται να να τροφοδοτήσουν τη διαχείριση του μυθικού/ιστορικού παρελθόντος, να διερευνήσουν τη σχέση της διονυσιακής λατρείας με το θέατρο, παράγοντας νέες μορφές και λειτουργίες του τελευταίου, είτε τέλος να επικυρώσουν εκ νέου ότι ο ελληνικός πολιτισμός ενέχει στοιχεία τόσο από την Ανατολή όσο και από τη Δύση, εντάσσοντας το σύγχρονο ελληνικό θέατρο σε ένα διαπολιτισμικό διάλογο.
Research Interests:
Αντικείμενο του άρθρου αποτελεί η μαθητεία και η επαγγελματική δραστηριότητα που ανέπτυξε ο ηθοποιός και σκηνοθέτης Θωμάς Οικονόμου σε Βιέννη και Γερμανία, την περίοδο πριν την άφιξή του στην Αθήνα, το 1900. Αξιοποιώντας αρχεία της... more
Αντικείμενο του άρθρου αποτελεί η μαθητεία και η επαγγελματική δραστηριότητα που ανέπτυξε ο ηθοποιός και σκηνοθέτης Θωμάς Οικονόμου σε Βιέννη και Γερμανία, την περίοδο πριν την άφιξή του στην Αθήνα, το 1900. Αξιοποιώντας αρχεία της Αυστρίας, αναδεικνύουμε στοιχεία που αφορούν στα πρώτα χρόνια του στη Βιέννη, στη μαθητεία του στο Κονσερβατόριο της Βιέννης και τους ρόλους που ερμήνευσε ως σπουδαστής στη Δραματική Σχολή, υπό τη διδασκαλία διάσημων καθηγητών υποκριτικής και ηθοποιών του Μπουργκτεάτερ. Παρακολουθώντας τις περιπλανήσεις του στα επαρχιακά θέατρα της Γερμανίας, αναδεικνύεται η θεατρική δράση του ηθοποιού, η οποία ολοκληρώνεται με την πρόσληψή του στο θέατρο του Μάινινγκεν το 1899. Η πρόσληψη αυτή αποτελούσε σημαντική εξέλιξη στην καριέρα του, καθώς το θέατρο του Μάινινγκεν είχε αποτελέσει τις προηγούμενες δεκαετίες καινοτόμο επαρχιακό γερμανικό θέατρο και ήταν διάσημο, λόγω της δράσης του σκηνοθέτη του, Γεώργιου Β΄ Δούκα του Σαξ-Μάινινγκεν. Στο θέατρο αυτό, ο Οικονόμου συμμετείχε σε αρκετές παραστάσεις, ερμηνεύοντας διάφορους ρόλους.
Research Interests: Theatre Studies, Theatre History, German Theatre, Drama and Theater, Modern Greek Theatre, and 9 moreGerman/Austrian/Swiss Drama and Theatre, Saxe-Meinigen, Theater and Performance Studies, Deutsche Geschichte, Austrian Theater, Theater, History of the Theater, Vienna Theater 18. Th Century, and Burgtheater
Research Interests:
Research Interests: Greek Literature, Theatre Studies, Theatre History, Performance Studies, Shakespeare, and 11 moreNational Identity, Shakespearean performance history, Modern Greek History, European Theatre, Modern European History, Θέατρο, Faust legend, Aeschylus Oresteia, Aeschylus, Persae, Gerhard Hauptmann, and Ελληνικό θέατρο 19ος αιώνωας
The author examines the vigorous reception of the German theater in Greece, a phenomenon that took place along with the process of establishing in Athens, in 1901 the Royal Theater. The multiple aesthetic, social and political forms of... more
The author examines the vigorous reception of the German theater in Greece, a phenomenon that took place along with the process of establishing in Athens, in 1901 the Royal Theater. The multiple aesthetic, social and political forms of this phenomenon provided a "locus of contact" with the German culture and accomplished a function, regarded as the instrument for the development of the bourgeois theater in Greece. This happened through the work of theater practitioners and intellectuals, as well as through the transfer of institutions, theatrical plays, and scripts of direction instructions, decorations, and props. The performances staged were the iceberg in the process of this reception, as they provided a strategy toward the revitalization of the Greek theater, realized in a productive way.
Research Interests: Greek Literature, Greek Tragedy, Theatre Studies, Theatre History, German History, and 13 moreGreek Language, Cultural Theory, Theater and film, Modern Greek History, Austrian Literature, 19th-century German philosophy, Theatre Theory, Theatre, Theatre Arts, Deutsche Geschichte, Austrian Theater, History of the Theater, and 19th-and 20 century Austrian Theater
Αθήνα, ΕΙΕ, 14-17 Μαΐου 2015.
Πρόγραμμα εργασιών
Πρόγραμμα εργασιών
Research Interests:
Τranslation of the theoretical text by Migdalia Cruz for the program of the performance of the National Theater in Greece.
Research Interests:
Im Wartesaal der Träume BAAL novo, das deutsch-französische Theater des Eurodistrikts Strasbourg-Ortenau, präsentiert ein künstlerisches und integratives Theaterprojekt, das von brisanter Aktualität ist.