Professional Documents
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New Spatialities Design For Outdoor Open PDF
New Spatialities Design For Outdoor Open PDF
/
1 2014
New Spatialities:
design for outdoor / open performance space
Saturday, 1 November 2014
Michael Cacoyannis Foundation
THE HELLENIC CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE
2014-2016
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, PQ 2015
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Catalogue edited by
Thanos Vovolis
Set and Costume Designer
Curator for the Hellenic National Participation
& Curator for Theory at PQ 2015
Catalogue Design
Aphrodite Spyropoulou
Graphic Designer
Text editor /
Proofreader
Menelaos Karantzas
Theatrologist
Conference convenor
Thanos Vovolis
Conference Production Team
Neofitos Panagiotou
Administrative Advisor & NSRF Programme Coordinator
Zetta Pasparaki
Venue Manager & Projects Coordinator
Sofia Karagianni
Executive Production Manager
Flora Lenou-Pagkrati
Production Manager
Vasiliki Tsouka
Assistant Production & Communication
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http://www.art-syndicate.gr
Dear friends
The Hellenic Centre of the International Theatre Institute participates in the present action aspiring to contribute in supporting
contemporary greek culture and to highlight both the potencies and the achievements of domestic Scenography and Architecture,
maintaining a feeling of optimism despite the adverse financial circumstances in a period of social distress.
In recent years, the Hellenic Centre of the ITI has aimed at further developing, updating and harmonizing its various activities with
what current times demand, while concurrently defining a new course of active participation in both greek and international areas of
performing arts.
By supporting and promoting abroad the work of greek artists and by setting off high quality projects, we wish to add not only to
the achievements of the artistic community, but to the expansion of the role that performing arts play within greek society as well.
The current political and financial context intensifies the feeling of insecurity and often leads, erroneously, in questioning the value of
arts as an expensive luxury. Yet, if we consider the many cases where arts have functioned as a souls refuge during a crisis period, we
will realise that they could once again become a counterweight and a topos of meaning. Each one of us deserves and can be substantially conducive to cultures edifice.
With the financial support form the Ministry of Culture and Sports through a National Strategic Reference Framework program we
have been able to organize this one-day conference, which is a precursor of our participation in Prague Quadrennial 2015. It is very
important to proceed with creating the most representative exhibition stands and completing the action with the presentation of
those taking part in PQ in June 2015.
All these and many more issues will be addressed and openly discussed with the audience during the aforementioned one-day conference. Our object is to evoke productive dialogue with people whose life stance and everyday practice is the active engagement with
arts and culture.
With the above in mind, and with the promise that the scientific agenda of our meeting will be particularly attractive and it will offer
the opportunity for information, and exchange and feedback of ideas, I would like to express my warmest thanks to: scenographer
Thanos Vovolis, Vice-President of the Hellenic Centre of the ITI and National Curator for PQ 2015; architects George Parmenidis,
Christine Longueppee and Ifigenia Mari, in charge of the architectural design and construction supervision of national exhibition stands;
scenographer Maria Konomis, Associate Curator for Theory of Greeces participation at PQ 2015; and all the members of the artists
selection committee.
I, personally, and on behalf of the Board of Directors of the Hellenic Centre of the ITI, would like to thank the five-member team
set up to manage, communicate and organize the event for the Hellenic Centre of the ITI, and all the participating artists, as well; we
wholeheartedly wish them the best of success.
Emmanouil Koutsourelis
10
PRAGUE QUADRENNIAL
OF PERFORMANCE DESIGN AND SPACE
Prague Quadrennial of Performance Design and Space (PQ),
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Exploring the core theme of PQ 2015 SharedSpace: Music Weather Politics, the National Participation of Greece will be centered around
the following theme: New Spatialities: performing arts and outdoor space.
The quest for new spatialities shaped by diverse negotiations of the open, outdoor and public space consists in effect part of the
central theme of PQ 2015 and the driving force behind some of the more recent developments in the field of performance space.
The projects to be selected for the Greek National Participation in PQ 2015 are expected to follow upon this novel and expanded
understanding of the spatialities of outdoor / open spaces.
More specifically, each performance event must have been created for the specific circumstances of outdoor space and shaped primarily in dialectic relation to its distinct characteristic features as well as its spatial and human-geographical classification as urban,
industrial, rural, historical or natural landscape.
Projects should not just recreate given spatial conventions of interior space or utilize conventional and fixed frameworks of outdoor
performance architecture.
The performance event is regarded as human action that can take shape in a plethora of aesthetic forms and genres: theatre, dance,
performance, happening, action, intervention, hybrid forms, etc. All projects must have addressed the social and political structures
weaved by human interactions and the complex interrelations between art event, artist, space and participating audience (be it targeted or random, broad or specific, privileged or excluded).
Over a long period of time, the modernist era included, performing arts have been defined by the dominant notion of indoor space,
along with the various representational systems that shaped it; their main axis has been a strict visual and spatial formalism consolidating a given primary focus on morphological and structural elements. The rigorous control on form used to be the exemplary rule
for many of 20th centurys historical avant-gardes that favoured subordination of space and visual composition to specific aesthetic
systems and codes of each avant-garde movement.
During the first decade of the 21st century a new, more flexible and open paradigm has been widely spread, expanding previous artistic formulations of the avant-gardes. In the post-war era and especially during the 1960s and 1970s strict definitions of forms and
genres like theatre, dance, opera, etc. started blurring, and boundaries between different expressive forms have been transgressed and
broadened.The spectators relationship to the performance event acquired greater importance, towards a more active and demanding
participation as to the signification of the performance event.
One fundamental aspect of this development has been the shift from the conceptual or more abstract space of scenography towards
the dynamics of the real, open, outdoor, and public space. This departure from indoor to open and outdoor space has been accompanied by an increased interest for site-specificity and for the distinct physical features of the surrounding environment which could
contribute to the realisation of the performance event in an organic way.
What all this shifting denotes is, on one hand, the gradual rejection of representational conventions and their supremacy over meaningmaking in art and, on the other, the transition towards the elements of randomness and improvisation, triggered by the inherent
ambiguity and complexity of outdoor space. This new spatial awareness contributes to performance events becoming primarily sitespecific and site-related.
Exiting indoor space and locating the performance event within a broader artistic field, often leads to its liminal position in the realm
of external reality, of everyday life and the course of daily activities; furthermore, this is often connected with concepts and complex
formulations of found-object/space/sound/ text.
This dialectical relationship with the realm of the everyday and the collective has also been closely linked to the increasing and targeted socio-political-cultural signification of the performance event, particularly through utilisation of outdoor and public space; concepts,
formulations, presentations and participatory viewing are all centrally linked to this new public/shared space awareness.
16
17
The theme area Politics primarily addresses the socio-political aspects of performance space, and the making and energizing of shared
space with its double interpretation as a catalyst for fragmentation and exchange. The process of space transformation -and art in
general- into a dynamic political position in the context of turbulent regimes and power structures could also be examined, since
space is always socio-politically and collectively defined, transformed into place through lived experience, and all sorts of interrelations,
interactions and negotiations. Moreover, borders and boundaries could be challenged as territorial traces functioning as communal
places or conflict places.
Other research directions draw emphasis on the out-of-stage space when it takes the form of a walk or a journey and the underlined
political stance of this movement; the simultaneous crossing of, more or less, fluid trajectories leading to strong and meaningful points
of view; movement as a tension-provoking mechanism inside the most established spatial systems; at the same time, outdoor space,
streets and landscapes could prove to be catalysts for connecting or disconnecting the parts of the whole.
The concept that any space is a potential stage is crucial. Space is thus regarded as an open territory, as an open system for the performance event; it is, in a way, a boundless space in continuous process of construction and reconstruction, and of deposition of layers
made up from visual material, meanings and narratives of the performance events.
Performative architecture is also one of the focal points of the SharedSpace theme as a symbiotic relationship between structured and
built environment and performing arts.
The thematic area Weather explores natural environmental conditions and their interactions with space as sources of inspiration, as
well as symbolic extensions of the transient, the uncertain, the fluid and the random.
For the theme Music, which includes sound environments, possible topics of research are: space as sound generator, acoustic sitespecificity, and exploring the qualities of sound and music that allow a dynamic description of space, or transform it by creating new
spatialities and new soundscapes.
Thanos Vovolis
Maria Konomis
Scenographer - Theorist
Adj. Ass. Professor University of Patras & Athens
Assosiate Curator for Theory at PQ 2015
18
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https://independent.academia.edu/ThanosVovolis
Song Traces and Dreams - performance , Mryd Nature Reserve, Lund, , 27-28-08.2011. / : Susanne Rosenberg,
: Sara Erlingsdotter, :
Song traces and dreams site-specific promenade performance, Mryd Nature Reserve, Lund, Sweden, 27-28-08.2011.Performance / Song: Susanne Rosenberg, Dramaturgy:
Sara Erlingsdotter, Scenic installation: Thanos Vovolis
Thanos Vovolis
19
20
Song Traces and Dreams - performance , Mryd Nature Reserve, Lund, , 27-28-08.2011. : Sara Erlingsdotter,
:
Song traces and dreams site-specific promenade performance, Mryd Nature Reserve, Lund, Sweden, 27-28-08.2011. Dramaturgy: Sara Erlingsdotter, Scenic installation:
Thanos Vovolis
Thanos Vovolis
21
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11.45-12.05
Coffee break
12.05-12.20
12.20-12.30
12.30-12.40
12.40-12.50
12.50-13.00
Getting outside
Argyro Chioti
Stage director, actress, founding member of Vasistas Theatre Company
13.00-14.00
Lunch break
14.00-14.20
George Parmenidis
Architect engineer, Professor at School of Architecture,
National Technical University of Athens
Vana Xenou
Visual artist, Professor at School of Architecture,
National Technical University of Athens
Ifigenia Mari
Architect engineer, Lecturer at School of Architecture,
National Technical University of Athens
Chryssoula Karadima
Architect engineer, PhD candidate, teaching assistant at School
of Architecture, National Technical University of Athens
Georgia Antzampou
Shipbuilder engineer, Professor in classical ballet and
modern dance, PhD candidate School of Architecture,
National Technical University of Athens
14.20-14.30
14.30-14.40
15.20-15.40
Coffee break
15.40-15.50
15.50-16.00
16.00-16.10
16.10-16.20
16.20-16.35
14.50-15.00
16.35-16.50
14.40-14.50
15.00-15.10
15.10-15.20
16.50-17.00
17.00-18.30
Lila Leontidou
:
Transformations of Mediterranean public spaces: the hybrid city of southern Europe
. , ,
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21
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, , , [.
, MSc London School of Economics and
Political Science (LSE), PhD University of London], ()
senior fellow LSE ( 2012) Johns Hopkins University
( 1986). 4
(Kings College London)
2 . . 200 , ,
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.
Mixed land use is characteristic for Mediterranean cities; Mediterranean public spaces, piazzas, linear walks, small parks, quays
and ports with various land uses mixed with residence and economic activity, allow for many kinds of action and performances.
Throughout the European South and in Greece during the 21st
century the digital element is added to enhance the hybridity
of the Mediterranean city. However, when the crisis breaks out
with the consequent fragmented empty spaces of disurbanization, dispersed abandoned private and public spaces are opened
up in the South, instead of the large dilapidated areas which were
created in Northern cities by de-industrialization. The challenge
is to enliven these spaces by human action, intervention and performance.
Lila Leontidou, architect, planner and geographer [Dipl.Arch National Technical University of Athens, MSc London School of Economics and Political
Science (LSE), PhD University of London], is professor of Geography and
European Culture at the Hellenic Open University and senior fellow at the
LSE (since 2012) and at the Johns Hopkins University (since 1986). She has
held permanent lectureships and professorships in 4 greek universities and
one british (Kings College London), and has been a visiting professor in 2
french ones. She has been elected dean and head of department. She has
published about 200 scholarly works in Greek, English and French, and some
of her works have been translated into Spanish, Italian, German and Japanese.
https://eap.academia.edu/LilaLeontidouwww.arch.ntua.gr/person/127
http://media.eap.gr/images/stories/pdf/CV_Leontidou_Lila_F29298.pdf
29
Elli Papakonstantinou
Addressing the city as a body of citizens
:
.
; ;
;
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;
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Royal Holloway, University of
London (MA). 2011 ,
. , ,
ODC Ensemble.
, , , (
1997, 2004), , (
2012) (Princeton University, La MaMa ).
The hidden city and its utopian synergies: challenging the confrontational relationship between audience and artists, reactivating
secret urban spaces. What is the city? How is a body of citizens
formed? How to tell the story of the many in the frame of a new
narrative? Is there a method of dramaturgy? What is the positioning of the citizen within this new model of creation? Searching for
a new model of creation: visible versus utopian. How does visible
become utopian in terms of dramaturgy and spatial use?
Elli Papakonstantinou is stage director and visual artist. After studying Theatre at the School of Fine Arts of Aristotle University of Thessaloniki she
moved in the UK (credited an MA at the Royal Holloway, University of London). In 2011 she returned to Athens where she founded Vyrsodepseio, a versatile space for the arts and an independent network of artists and activists.
She is also the co-founder and artistic director of the ODC Ensemble company.
Her productions have been staged in Greece, Cyprus, Egypt, UK (Edinburgh
Festival 1997, 2004), France, Iraq (International Theatre Festival of Kurdistan
2012), and USA (Princeton University, LaMaMa etc.).
http://www.vyrsodepseio.com/el/odc/about
31
Ioanna Remediaki
The body of the city
- 2
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(2007, 2008), (2008), (2009),
(2010, 2011), 2 (2011-12) (2013), , ,
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Teatro Valle Occupato.
.
http://omadaisonena.blogspot.gr
: 2, -
: 07.2011 & 09.2011, 07.2011 & 06.2012, 08.2011
Tiziana Tomasulo
33
Paris Legakis
:
Claim your anger: politics and political art
.
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1981 . Performance Studies () Tisch School of The
Arts New York University Public Art and New Artistic Strategies Bauhaus University-Weimar
. 2013 Hongeun Seoul Art Space Incheon Art Platform .
.
. performances
.
www.parislegakis.com
35
Paris Legakis: Voices of the People, performance, Han river, Seoul, South Korea,
02.08.2013 AndrewMoon
Christiana Galanopoulou
(;)
Art in the public (?) space in Athens
MIRfestival
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2008 MIRfestival
.
MIRfestival
,
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, , University of Essex ()
(DEA
[Master II]), Universit Paris 1, Pantheon-Sorbonne. 2000
VideoDance, .
2008 MIRfestival, . MIRfestival .
.
Named after the old orbital station, MIRfestival welcomes adventurous creations at the meeting point of arts, presenting cutting
edge contemporary performance in the public space. During its
past 3 editions (2008, 2010, 2012), MIRfestival has been encouraging artists to open up the dialogue about social and political issues
in the heart of the city, provoking the reactions of citizens, aiming
to question their concept of citizenship. Using visual material and
examples from the interventions of MIRfestivals artistic projects
and through the reactions of the Athenians to them, I would like
to discuss the shifting notions of what is being conceived as art in
the public space in Athens.
Christiana Galanopoulou is an art historian, curator, festival programmer,
dramaturge and author of texts on art. She studied archaeology and art history at the University of Athens, and she holds an MA in Gallery Studies from
Essex University and a DEA in Art History from Paris 1 Panthon-Sorbonne
University. In 2000 she founded VideoDance, a festival on movement and
the moving image, which she directed until 2007. She is currently the artistic
director of MIRfestival in Athens, which she founded in 2008. She has collaborated with Greek and European cultural institutions. Her work focuses
on the intersection between contemporary audio-visual culture and the performing arts as well as on revealing new forms of performing arts.
http://www.mirfestival.gr/el/
: 2010, 3 , ,
MIRfestival 2010, 18.09.2010
37
Dimitris Alithinos: Happenings 2010, 3rd position, Athinas and Armodiou str,
MIRfestival 2010, 18.09.2010 Dimitris Alithinos
Maria Konomis
:
-,
Experiencing the city outdoors: site-specificity, mobility and the everyday
,
. -,
,
,
/ / / .
-
Wimbledon School of Art (BA) Central Saint Martins College of Art and
Design (MA) .
, performance,
.
20 21 , , , - .
Prague Quadrennial 2015.
Operating out of the box and having introduced its own fluid typologies, the performance space expanded in the public realm of
the urban environment provides a participatory, shared locus for
contemporary performance artists and audiences alike. Among
the basic traits of the complex reconfigurations of the -literally
and metaphorically- outdoor performance spaces and places are
site-specificity, mobility and the everyday, that work both as its
basic locating realm and as liminal aesthetics, expressed foremost
with investigations of the found objects/ space/ sound/ text.
Maria Konomis has studied scenography at Wimbledon School of Art (BA)
and Central Saint Martins College of Art and Design (MA) and holds a PhD
from the University of Athens. Her field work comprises of more than 60
productions in theatre, performance, opera and film design. As a scenography theorist and historian her research interests focus on 20th-21st century
scenography, classical receptions, theatre and the city, site specific live art.
She is currently teaching in the Universities of Patras and Athens, and has
co-authored with curator Thanos Vovolis the theoretical theme of Greeces
participation for the Prague Quadrennial 2015.
https://upatras.academia.edu/MariaKonomis
39
Euripides Laskaridis
-
Ridicule and transformation - The walk
2013,
thens,
.
, ,
.
, ,
2009. 2000
, , New York City Fringe, 11 ..
: .
In October 2013, as part of the Athens IETM International Festival of Performing Arts, OSMOSIS Theatre Company orchestrated
a unique walk in a small part of the city, in order to familiarize
a group of foreign artists with Athens and the companys work.
Using ridicule and transformation as basic performative tools, OSMOSIS Theatre Companys promenade was set as a movement in
space and time, in order to reintroduce and relocate the monument and the memory of the city.
Euripides Laskaridis is a stage director and performer; he founded OSMOSIS
Theatre Company in 2009. He leads workshops on the performing arts and
has been directing since 2000. His work has been hosted in various venues
and festivals, like the Athens and Epidaurus Festival, the Greek National Theatre, the New York City Fringe, the 11th Biennale of European & Mediterranean
Artists etc. In his work he revolves around the two dominant themes that
run his artistic identity: ridicule and transformation.
http://euripides.info
& , -
performance- ,
17-20.10. 2013
41
Vicky Mastrogianni
:
Public space and theatrical praxis: a research process
7,
( )
project.
project Yapi a very nice place
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1998-2001, . - . , 19961998 , 2003
, 1986-1989.
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https://www.facebook.com/pages/-7/145215469006072?fref=ts
43
Team 7: Yapi a very nice place, an in situ performance, has been performed at
Vyrsodepseio 06.2013, Studio Kinitiras 06.2013, ACT theatre of Patras 10.2013, Studio
Kinitiras 11-12.2013, Polychoros KET 03-04.2014
Giorgos Zafeiriou
Katerina Konstantinakou
: -
()
The cage and the nest: a promenade site-specific theatre documentary
at the premises of the former Boys Orphanage in Kalamata
- .
-
- . -, ,
- - (
).
.
University of Kent at Canterbury University of
Glasgow (MPhil).
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, - , 06.10.
2012
,
.
45
The performance was a combination of site-specific and documentary theatre. Guided tours were organised for the visitorsspectators, led by former inmates of the orphanage. The site was
treated as a found space, complete with memories, found objects
and found texts (official documents as well as personal oral accounts by the guides that capture collective counter-memory).
The aim was to activate the place as a heterotopia, at the same
time subverting its character through collective commemoration.
Katerina Konstantinakou studied theatre (theory, history, dramaturgy and
scenography) at the Theatre Department, Aristotle University of Thessaloniki, Greece, at the Department of Drama and Theatre Studies, University of
Kent at Canterbury, UK and obtained an MPhil in Dramaturgy from the University of Glasgow. She works as a free-lance dramaturg since 2004.
Katerina Konstantinakou & Music School of Kalamata: The cage and the nest:
Kalamata Boys Orphanage, site-specific promenade, 06.10.2012
General State Archives of Greece, Regional Archive of Messinia
Photo reproduced by kind permission of the General State Archives of Greece
Argyro Chioti
Getting outside
Domino . , , ,
. / .
.
The Domino performance had been created indoors. In its completed version, though, it was presented for the first time in an
open space, on the flat roof of the French Institute of Athens.The
open / public space influenced in an extreme and unexpected
way the final form and the overall function of the performance. In
my presentation I will try to share the experience of the above
adjustment and the new facts that turned up about the performance in the open space as far as its dramaturgy and its scenic
form are concerned.
vasistas, ,
Domino, Spectacle, Phobia: , Silence,
, , Get over it (), ( ) performances
.
(Masters 2 , 2004-2006) Universit de Provence
(1996-2000). (2013).
Argyro Chioti is the founding member of the theatre group vasistas and
she works between Greece and France. As stage director she has created
the performances Domino, Spectacle, Phobia: a spectacle, Silence, Little red riding
hood: me and my wolf, Get over it (Faedres), Faust (collective direction for the
National Theatre), while as director or actress she has also collaborated to
or worked on other performances. She holds a Bachelors degree in Theatre
Studies and a Masters degree (2 years, 2004-2006) in the Practice of Stage
Direction and Dramaturgy from Universit de Provence, in France. She has
studied acting at the drama school of the theatrical organisation Morfes in
Athens at Embros theatre (1996-2000).
http://www.vas.eu.com/gr/spectacle/
47
Vasistas: Domino, performance on the flat roof of the French Institute of Athens,
09.2013 Dafni Koutra
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www.parlon.gr, https://www.arch.ntua.gr/person/217
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https://www.arch.ntua.gr/person/1258
, ( 1997), ,
( 2003). .
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).
https://www.arch.ntua.gr/person/1281
, ( 1994), . ,
, ( 2009).
.
www.atzabougeorgia.gr
Choreogenic, ,
02.2014, : ,
Choreogenic, an action at the staircase of NTUAs School of Architecture, 02.2014,
dancers: Angela Patseli, Tasos Mpekiaris Chryssoula Karadima
51
Choreogenic, , 04.2014,
:
Chorogenic, an action at the propylon of NTUAs School of Architecture, 04.2014,
dancers: Angela Patseli, Tasos Mpekiaris Chryssoula Karadima
Tzeni Argyriou
a space within the space
;
. ,
,
.
,
. , ,
.
, performance maker media artist.
.
. 2003 amorphy.org.
. : Memorandum, : Memoria Obscura,
Pleas(e)nter, Dr. Maybe Darling, : Land(Scape), Lights on You, See you
In Walhalla, Psycho/Cycle.
www.amorphy.org
www.tzeniargyriou.com,
https://vimeo.com/tzeniargyriou/videos
53
Tzeni Argyriou & amorphy.org, performance: Memoria Obscura - Grevena, 0507.10.2012 Eugene Tzafestas
Dimitris Bampilis
gps drama
Creating a gps drama n Patision Avenue
,
Reformers []
.
,
Benjamin, , Fral Goffman.
1985.
.
- ,
.
Wodzimierz Staniewski Rimini
Protokoll
. ,
gps
drama .
55
Starting from the belief that every aspect of the public is subject
to an obscure dramaturgy, the multidisciplinary group Reformers
is working on the creation of a multimedia theatrical route on Patision Avenue. The purpose of this presentation is to describe the
groups research on concepts of the public sphere, the theatricality of inhabiting public space and the interaction of the theatrical
process with urban environment through the essays of Benjamin,
Stavridis, Fral and Goffman.
Dimitris Bampilis, was born in Athens in 1985. He holds a BA in Theatre
Studies from the University of Patras and an MA in Theatre Directing from
the School of Fine Arts of Aristotle University of Thessaloniki. He is interested in performing arts through a multidisciplinary practice connected to
theory and research with an emphasis on their relation with social reality and
urban environment. His collaborations with directors like Vasilis Papavasileiou
and Wodzimierz Staniewski, and with the documentary-theatre collective
Rimini Protokoll in Berlin, have so far marked his vision for theatre. For his
latest project and in collaboration with Elisavet Xanthopoulou, Eleni Arapostathi and Xenia Koghilaki he participates in the creation of a gps drama on
Patision Avenue.
Stavros Gyftopoulos
Reorganizing theatrical landscapes with students of architecture
.
, , -
. ,
.
.
,
, . ,
,
, ,
.
.
. .
, 29 19 .
, , .
City is the heart of human activity. Public space, despite its regular
downgrading, still predisposes to an intense relationship between
citizens-spectators and outdoor actions. The researches of students of architecture as part of their module on Transformations
of Theatrical Space, target in an intense flexible and open interrelation between theatrical act and public space. Their proposals
rephrase undistorted theatrical models, reinterpret the relations
of space and theatrical act and propose theatre in a new context.
Urban voids, squares parking lots, ports and train terminals constitute these new spaces for theatrical motivation.
Stavros Gyftopoulos is Assistant Professor at the School of Architecture of
National Technical University of Athens teaching Analysis and Synthesis of
Architectural Design. His research interests focus on issues of incorporation
of contemporary architecture within areas of historic architectural interest
and on new usages of historical buildings; he is also interested in issues of
architectural transformations for the development of theatrical spaces. He
has been involved in many architectural projects and collaborations and he
has taken part in 29 architectural competitions winning 19 awards. He has
published theoretical articles, presented papers in conferences and seminars,
participated with his own projects or with collaborations in architectural
exhibitions and been curator for exhibitions and editor of their catalogues.
https://www.arch.ntua.gr/person/142
, 03.2008
-
Thalia Istikopoulou
The case of an ephemeral scenic space in an indelible landscape scene
1988
. Emilio Isgr, Orestea di Gibellina,
Gibellina.
: ()
, () , , , () Roger Agache
, , .
-.
. Politecnico di Milano
Piccolo Teatro di Milano.
40 . Teatro dellElfo-Teatridithalia
25 .
150 , ( : Mediterraneo, 1992).
( 100
, 2000,
, , ).
.
Roger Agache
59
&
George Sachinis & Eirini Alexiou
Structures on Marathon dam
2009
:
. 2010 2012
- . performer: ,
. performance
(performers, ).
mise-en-scne performance,
.
After the catastrophic fire in summer 2009 a large landscape fragment at the downstream side of Marathon dam had been bared:
an arena of burnt land separated from the life-giving lake by the
dams wall. Our performances of 2010 and 2012 structure a novel
fragment-dam relationship in space and eventually in meaning.The
cut off space and the dam become the unified journey of the performer: the dam becomes a passage and the terrifying image of
the wall softens. From the way the performance moves, arcs are
outlined and sounds are written thus creating new equilibriums
between natural and artificial scenery and people on it (performers, spectators). The landscape of the performances distant miseen-scne is disturbed by Lilliputians so that the overall image resembles a photograph from the time the dam was constructed.
, UrbanDig
Project. Central School of Speech and Drama
( Advanced Theatre Practice) Duke
( ) Berkeley .
.
,
Susan Klein School (Susan Klein technique)
Atmananda Yoga Centre ( ). .
The director George Sachinis and the choreographer Eirini Alexiou are the
co-founders of the ohi pezoume company that comprises the UrbanDig Project.
George has studied at Central School of Speech and Drama in London (MA
in Advanced Theatre Practice) and at Duke University (at the Institute of the
Arts and at the Engineering School) and Berkeley University in USA. He also
works as civil engineer. Eirini holds a BA in Theatre Studies from the University of Athens, and she has studied dance at the professional dance school
Rallou Manou in Athens and at Susan Klein School (Susan Klein technique) in
New York and also yoga at Atmananda Yoga Centre (New York). She works as
yoga instructor as well.
http://www.ohipezoume.gr
61
EYDAP SA Archive
Photo reproduced by kind permission of the EYDAP SA Archive.
Ariadni Vozani
:
The poetics of public spaces representations on stage
.
,
. , ,
.
.
(1968) (), University College London/Bartlett
(Arch) Architectural Association School of Architecture (PhD)
.
.
,
(2011-2014). 1998
9 .
20 .
www.vozaniariadni.com
www.arch.ntua.gr/person/127
. ,
P. Noefert, Old Vic Theatre, , 02.2000
63
Apostolia Papadamaki
: / / /
Transcendence: symbols / archetypes / cellular memory / morphic resonance
. performance
,
, performance.
H , performer.
.
-
(2004). 2001 Jan Fabre. 2010
- performance The Death series.
.
Our cells have memory as old as the creation of the world. With
my performances I aim to approach the collective unconscious as
it exists within our cells and to connect with it; in other words,
to open an entrance to a transcendent state in which I am fully
aware of the surroundings and of reality while simultaneously I
draw from the collective memory during the performance.
Apostolia Papadamaki, is choreographer, director and performer. She graduated from the Greek National School of Dance in Athens and she completed her postgraduate studies in New York. Her works have been presented
around the world. She directed - choreographed the Opening Ceremony of
the Athens Paralympics in the Olympic Stadium (2004). Since 2001 she has
collaborated with the director and visual artist, Jan Fabre. Since 2010 she
has created The Death series, a series of site-specific solo performances. She
teaches in courses and seminars in Greece and abroad.
http://apostoliapapadamaki.com/
65
Annetta Spanoudaki
: , ...
Contemporary topography: the gaze or else how could I see instead of looking
; , , ...;
,
,
,
;
;
.
HdK Fb4 Visuelle
Kommunikation
.
three points.
, , .. .
, , .
How long should one stand in a spot and observe without being
characterized as tourist or mere spectator?
Hours, days, weeks?
Is the plain arrangement of signs, symbols or traces a mere resemblance of a place or is it a means to divide space, public or
private, a way of storing our own projections intending to its familiarization? How can a gaze develop spaces within a space using
analogy and metaphor?
Annetta Spanoudaki was born in Berlin. She attends the Academy of Fine
Arts HdK, department Fb4 Visuelle Kommunikation, in Berlin, and she holds
a degree in painting from the School of Fine Arts of the Aristotle University
of Thessaloniki. She is a founding member of the visual artists group three
points, and she lives and works in Athens. Selected collaborations as set designer include the National Opera, the National Theatre, the State Theatre of
Northern Greece, etc. She has participated in many solo and group exhibitions in Greece, Germany, Austria and Holland.
www.annetspanoudaki.weebly.com
: corpus#, performance-, ,
, , 20092010 H
67
Michael Klin
: , *
Summer grass - where warriors used to dream*
Michael Klin
. Parliament/ ,
.
Michael Klin . ,
.
Parliament/ Jerusalem
2014.
www.michaelklien.com
69
Barbara Dukas
- x
In the mind of Lafcadio Hearn - The spatiality of the subconscious
.
Chet Williamson, The
Story of Noichi the Blind. Lamda
Project, , .
19
.
.
, . ,
.
, , .
, .
National Garden of Athens becomes the location of a promenade that hosts the unexpected encounter of two writers who
interacted through their metaphysical stories. Lafcadio Hearns
adventurous life and his stories have been the inspiration for
Chet Williamsons novel The Story of Noichi the Blind. The two
men meet during the Lamda Project, a theatrical promenade in the
garden, where they unfold the eternal story of human blindness.
National Garden of Athens is the vibrant setting of a journey into
the subconscious mind of the greek-irish writer Lafcadio Hearn
from 19th centurys Japan to Greece of his fantasy and to his
mothers loving armful to which he hopelessly wishes to return.
At the same time the garden becomes the scenery for the story
of lumberjack Noitsi and his futile obsession to preserve the life
of his dead woman. Behind the foliage there is always a demon
lurking interwoven with human imperfection...
Barbara Dukas is director, performer and educator. She has directed theatre,
dance and music theatre in Greece and abroad, where she has also taught Directing, Acting, Ancient Tragedy and Theatre Anthropology in drama schools
and seminars. She is an active member of international networks that provide
continuing training and education, and deal with the distribution of cultural
goods.
http://projectlamda.wordpress.com
71
PanosAmelides
o
:
City soundscape and recorded narrative as means of spatiality
and artistic creativity: the Alexandros project
.
.
, ,
(, , .).
.
O sound artist.
. , University
of Manchester De Montfort University
. , .
, De
Montfort University.
http://panoamelides.wordpress.com
73
Panos Amelides
lga Touloumi
Toward an ecology of the theatre
27 , , .
, ,
, , ,
, -
, .
.
Bard College.
Harvard Massachusetts
Institute of Technology.
20 .
,
.
Thresholds, Platform, Culture Machine, Xenakis Matters Architecture is
All Over.
After 27 years of exile in Paris, Iannis Xenakis returned to postrestoration Greece with the proposal for a multimedia spectacle
in the midst of the valley of Argos: the Polytope des Mycnes. With
anti-aircraft searchlights, locals, international performers, artilleries, flocks of goats, amplifiers, multichannel consoles, and walkietalkies Xenakis proposed a new ecology of the stage, where the
boundaries between nature and civilization, stage and audience
would be blurred. My presentation will interrogate the new model of theatricality that Xenakis proposes in his effort to reclaim
the natural and historical landscape.
Olga Touloumi is a Visiting Assistant Professor in the Art History program
at Bard College. She holds a PhD in Architecture History from Harvard University and a SMArchS from Massachusetts Institute of Technology. Her work
explores architectural constructions of globality in mid-20th century efforts
to institutionally reorganize the world. Her research interests focus on architectural modernism, media theory and sound studies. She has presented her
research internationally and her published work has appeared in Thresholds,
Platform, Culture Machine, Xenakis Matters and Architecture is All Over.
https://bard.academia.edu/OlgaTouloumi
, , 02-05.09 1978
. .
75
PQ 2015
ARTISTS SELECTION COMMITTEE FOR PQ 2015
-
, PQ 2015
President
Thanos Vovolis
Set and Costume Designer
Curator for the Hellenic National Participation & Curator
for Theory at PQ 2015
Vice-President, Board of Directors of the Hellenic Centre
of the International Theatre Institute
Members
K. Alexis Alatsis
Theatre Director
General Secretary, Board of Directors of the Hellenic Centre of the International
Theatre Institute
Nikos Vittis
Composer
Member, Board of Directors of the Hellenic Centre of the International Theatre
Institute
MIRfestival
- -
, , &
, PQ 2015
- -
, Senior Fellow
London School of Economics, UK, & Johns Hopkins University, USA
Christiana Galanopoulou
Art Historian
Artistic Director of MIRfestival
Maria Konomis
Scenographer -Theorist
Adjunct Assistant Professor, Universities of Patras & Athens
Associate Curator for Theory at PQ 2015
Lila Leontidou
Architect - Planner - Geographer
Professor of Geography and European Culture
at the Hellenic Open University; Senior Fellow, London School of Economics, UK,
& Johns Hopkins University, USA
George Parmenidis
Architect Engineer
Professor, School of Architecture, National Technical University of Athens
,
, 2012-2014
Katia Savrami
Choreologist
Assistant Professor, Department of Theatre Studies, University of Patras;
Former Vice-President, Board of Directors of the Hellenic Centre of the
International Theatre Institute, 2012-2014
George Sampatakakis
Theatrologist
Assistant Professor, Department of Theatre Studies, University of Patras
PQ 2015
HELLENIC PARTICIPATION CURATORIAL TEAM FOR PQ 2015
Organising Institution
Hellenic Centre of The International Theatre Institute
National Curator
Thanos Vovolis
Set and Costume Designer
- -
Maria Konomis
Scenographer -Theorist
Architectural Design and Construction Supervision
George Parmenidis
Architect Engineer
Ifigenia Mari
Architect Engineer
Christine Longuepee
Christine Longuepee
Interior Architect
Production Manager
Sofia Karagianni
Theatre Researcher
-
Video Artist
Communication Supervisor
Vasiliki Tsouka
Communication Specialist
Communication Sponsors Advisor
Zetta Pasparaki
Technical Coordinator
Thomas Economacos
Stage Lighting Designer
Technical Advisor
Thetis Parmenidou
Video Artist
ADMINISTRATIVE AND OPERATION TEAM
OF THE HELLENIC CENTRE OF THE INTERNATIONAL THEATRE INSTITUTE
&
. ,
&
&
-
&
The organising team would wish to express its warmest thanks to:
the Vice-President of Michael Cacoyannis Foundation
Mrs Xenia Kaldara
Mrs Melina Varoutsikou
Mr Andreas Ambatzoglou
Mr Thomas Economacos for his technical support
Mr Angelos Tonios for audio-visual editing
and the volunteers who helped in organising the one-day conference
206, 177 78,
T & F: +30 210 3303149
e: office@hellastheatre.gr, itigr@otenet.gr
www.hellastheatre.gr
www.athensystem.gr
https://www.facebook.com/helleniccentre.iti
https://twitter.com/HellenicCentre
https://www.linkedin.com/pub/hellenic-centre-of-the-iti/9b/644/2a1
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