DEPARTMENT OF THEATRE STUDIES ECTS GUIDE€¦ · Web viewTHEATRE STUDIES- POSTGRADUATE ... both in print (Crete University ... Gaspard Deburau to Marcel Marceau or the speaking

PROGRAMMES - ECTS GUIDE

DEPARTMENT OF THEATRE STUDIES ECTS GUIDE

THEATRE STUDIES– ECTS GUIDE

CONTENTS

GENERAL INFORMATION AND STRUCTURE OF THE DEPARTMENT 3STRUCTURE OF THE DEPARTMENT 4

WORKSHOP TEACHING STAFF 6

CENTER FOR FOREIGN LANGUAGE INSTRUCTION 6

UNDERGRADUATE STUDIES 7PROGRAMME OF STUDY 7

GENERAL INFORMATION 7

DESCRIPTION OF UNDERGRADUATE COURSE UNITS 13MANDATORY COURSES

LECTURES 13

WORKSHOPS 39

SEMINARS 40

ELECTIVE COURSES 45

First and Second Year of Studies - Lectures 45

-Workshops 46

Third and Fourth Year of Studies - Lectures 47

- Workshops 48

PREREQUISITES 50

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DEPARTMENT OF THEATRE STUDIES

FACULTY OF HUMANITIES AND SOCIAL SCIENCES

ACADEMIC YEAR 2014-15

GENERAL INFORMATION AND STRUCTURE OF THE DEPARTMENT

THE DEPARTMENT

The Department of Theatre Studies was established in 1989, and first received students for the academic year 1992-1993. It was among the first Departments in the Faculty of Humanities and Social Sciences at the University of Patras. The four-year undergraduate degree (BA) granted by the Department is primarily theoretical in orientation, with special emphasis being given to the study of ancient Greek theatre.

The Department has at present sixteen full-time academic members specializing in ancient Greek theatre, Roman theatre, archaeology, modern and contemporary theatre, semiotics, cinema, and dance. In addition it has three members on its workshop teaching staff, and one member of supporting staff. It also had three special subject teachers during the academic year 2014-15. Faculty from other university departments provide training in topics related to education, modern literature, and history of music. Teachers from the university’s language school provide foreign language instruction.

A total of 666 students are enrolled in the undergraduate programme.In addition to the undergraduate degree the Department offers a two-year postgraduate

course (MA) on ancient Greek theatre. Courses are taught by faculty members as well as by other distinguished scholars.

The Department publishes the international scholarly journal Logeion. A Journal of Ancient Theatre (Professor Stavros Tsitsiridis, editor), both in print (Crete University Press) and online (http://www.logeion.upatras.gr/)

The Department of Theatre Studies is situated in the buildings near the main Administration Building (Building “A”). It has its own lending library and reading room (books and Greek periodicals on theatre studies are kept in the Department Library, while international periodicals can be found in the University Library). The Department’s buildings also house classrooms and workshop space for practical courses in stage-directing and acting. The classrooms are equipped for video/dvd and slide projectors. The University’s small theatre space (“Melina Mercouri Theatre”) is also available for workshops and student performances.

DEGREES OFFERED

- Undergraduate: Ptychio (B.A.) (four-year degree / eight semesters)For the acquisition of the degree (ptychio) students enrolled in the Department must complete successfully 48 courses- Postgraduate course (M.A.) (two-year degree / four semesters)- Ph.D. across the discipline of Theatre Studies

PROFESSIONAL OPPORTUNITIES

The graduates of the Department are qualified to:

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http://www.logeion.upatras.gr/


- Teach theatre arts at primary and high schools- Work as assistant directors and repertory advisors (dramaturgs) at professional theatre companies- Perform theatre criticism at the daily and periodical press- Be employed at public and private cultural institutions related to theatre and drama- Undertake the editing of theatrical publications

CHAIRPERSON

Associate Professor Martin KreebTelephone: +30-(2610) 96.29.10Fax: +30-(2610) 96.93.66 kreeb @upatras.gr

VICE - CHAIRPERSON

Associate Professor Konstantinos KyriakosTelephone: +30 2610-969904, [email protected]

ECTS DEPARTMENTAL COORDINATOR:

Assistant Professor Ioanna PapageorgiouTel. +30 2610 969916E- mail: [email protected]

SECRETARIAT

Telephone: +30-2610-969360Fax: +30-2610-969366

STRUCTURE OF THE DEPARTMENT

FACULTY

Professors

Dimitris Tsatsoulis (Ph.D., University of Athens)Theatre Semiotics and Performance Theory tel. +30 2610-969908 [email protected]

Stavros Tsitsiridis (Ph.D., Universität zu Köln)Ancient Greek Philology –Ancient Greek Theatretel. +30 2610-969905, [email protected]

Theodoros Stephanopoulos (Ph.D., Freie Universität Berlin)Ancient Dramatel. +30 2610-969396 [email protected]

Associate ProfessorsMartin Kreeb (Ph.D. University of Munich)

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mailto:[email protected]







Classical Archaeology, primarily Archaeology of Ancient TheatreTel. +30 2610-962910, [email protected]

Konstantinos Kyriakos (Ph.D., University of Thessaloniki) Theatre and Film Studies tel. +30 2610-969904, [email protected]

Assistant ProfessorsAikaterini Arvaniti (Ph.D., University of Kent at Canterbury)Theatre Studies: Modern Staging of Ancient Dramatel. +30 2610-962913, [email protected]

Athena Coronis (Ph.D., University of California - Riverside) Theatre Studiestel. +30 2610-962911, [email protected] Ioannis Panousis (Ph.D., Université de Provence)Ancient Greek Theatre and DramaTel. + 30 2610-962912, panousis @ upatras . gr

Ioanna Papageorgiou (Ph.D., Goldsmiths College–University of London)Theatre Studies: European and Modern Greek Theatretel. +30 2610-969916, [email protected]

Giorgos Sampatakakis (Ph.D., Royal Holloway, University of London)Theatre StudiesTel. +30 2610-962.917, [email protected]

Katia Savrami (Ph.D., Laban Centre London, City University)History and Theory of DanceTel. +30 2610- 962915, [email protected]

Angeliki Rosi (Ph.D., University of London – Royal Holloway College) Theatre Studiestel. +30 2610-969903, [email protected]

Chrysanthe Sotiropoulou, (Ph.D.,University of Athens)History and Theory of Cinematel. +30 2610-962918, xsotirο[email protected]

Areti Vassiliou (Ph.D., University of Crete)Modern Greek Theatretel. +30 2610-969917, [email protected]

Lecturers

Eleni Karabela (Ph.D., University of Crete)Ancient Greek Theatre Tel. 962.916, [email protected]

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mailto:xsotir%CE%[email protected]











Aikaterini Kounaki-Philippides (Ph.D., University of Crete)Roman TheatreTel. 969.918, [email protected]

WORKSHOP TEACHING STAFF

Despina Georgakopoulou (Acting)Tel. +30 2610-962919, [email protected]

Ioanna Roilou (Terms and Conditions of Performance)tel. +30 2610-969398, [email protected]

Vasiliki Sakellari (Acting)tel. +30 2610- 969399

TEACHING STAFF IN CONTRACT

Agis Marinis, Ph.D. [Ancient Greek Theatre]Klio Fanouraki, Ph.D. [Theatre in Education]Maria Konomi, Ph.D. [Stage Design]

SUPPORTING STAFF

Alexandra Bertsouklitel. +30 2610- 969900, [email protected]

CENTER FOR FOREIGN LANGUAGE INSTRUCTION

tel. +30 2610-997370 www.languages.upatras.net

Aikaterini Spiliopoulou English Tel. +30 2610-99.77.04, [email protected]

Freideriki Savva GermanTel. +30 2610-99.77.08, [email protected]

Parthena Ioannidou RussianTel. +30 2610-99.77.03, ioannid @ upatras . gr

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http://www.languages.upatras.net/




THEATRE STUDIES- POSTGRADUATE PROGRAMMES – ECTS GUIDE

UNDERGRADUATE STUDIES

PROGRAMME OF STUDY

GENERAL INFORMATION

A. The Department’s Programme of Study is theoretical in orientation, with particular emphasis given to the study of ancient Greek theatre.

B. The Programme of Study for the undergraduate degree covers eight academic semesters (four years).

C. Courses are taught three hours per week with the exception of some workshops (see Course Summary Table). For the acquisition of the degree students enrolled in the Department must successfully complete 48 courses, each corresponding to 4 local course units; that is, 192 units for the entire programme. Each course corresponds to 5 ECTS credits, for a total of 240 ECTS credits for the entire programme. All courses are taught in Greek, but additional tutorial support in English, French or German is provided in some courses as well.

D. Courses are designated as:1. Mandatory or core courses. Students are required to complete successfully thirty two (32) mandatory courses in total.2. Mandatory electives. Apart from the mandatory courses, students are also required to complete successfully fourteen (14) courses from specific groups of academic subjects (see table General Division of Courses According to Academic Subjects).3. Free electives. Students may choose two (2) courses from any academic subject.

Completion of certain courses is a prerequisite for enrollment in certain other courses (See table Prerequisites)

E. During their first and second semesters of study, students must enroll in as many courses necessary to earn (the equivalent of) 30 ECTS credits per semester. In the second, third, and fourth year of study students must enroll in as many courses necessary to earn at least 30 but no more than (the equivalent of) 60 ECTS credits each semester.Students are allowed to attend more courses than those corresponding to the above-specified total of credits but these extra courses won’t be taken into account in the final grades of the “ptychio”. However, they will be recorded in the supplement of the “ptychio”.Students participating in student exchange programmes are exempted from the above regulations for the duration of their participation in those programmes.

F. Students are not allowed to enroll in courses whose hour of teaching coincides.Students of the first and second year of study cannot enroll in Elective courses of the third and fourth years. However, students of the third and fourth year of study can enroll in Elective courses of the first and second year.

G. Courses are designated as: Lectures: These courses provide students with academic instruction in the history and

theory of theatre, literature, film, visual arts, music, and dance, as well with systematic analyses of ancient Greek drama, modern theatre and related performing arts (particularly

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of the Western cultural tradition). This large group of courses aims at introducing students to different methods of research in theatre studies.

Seminars (tutorial lessons): These courses aim at training students in the methodology of scholarly research. The attendance of students in the seminars is compulsory. The maximum of students attending each workshop is 35.

Workshops: A series of practical workshops provides students with the opportunity to acquire experience in the practical aspects of the theatre, such as acting, stage-directing and set design. The maximum of students attending each workshop is 25.

I. In case that the number of candidates for a seminar or workshop exceeds the specified maximum number of attendants, then priority is given (1) to the students of the advanced semesters of study, and (2) to the students who have completed more courses than the other candidates of the same semesters.

J. During the first week of the semester, teachers describe the content of their courses and specify the examination method. By the end of the second week students should have filled in the course enrollment form and submit it at the Secretariat of the Department.

K. Students in the third or fourth year may elect (category of Electives Courses) to participate in the programme of student practice (internship) of the Department. The programme provides training for a period of two months in private and civil cultural services of the city of Patras. Student practice is a full-time occupation. Working-time periods will be adjusted to the requirements of the civil or private partner.

L. Deviation from the above regulations can be authorized only by the General Assembly to the Department.

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General Division of Courses According to Academic Subjects

CATEGORY NUMBER OF

REQUIREDCOURSES

TOTALOF LOCALCREDITS

TOTAL OF ECTSCREDITS

1. MANDATORY 32 128 160Ancient Theatre (ATH) 6 24 30World Theatre (WTH) 6 24 30Modern Greek Theatre (MGTH) 4 24 20Theory of Theatre and Drama (THE) 7 28 35General Instruction (GI) 4 14 20Workshops (W) 1 4 35Seminars SEM 4 12 202. MANDATORY ELECTIVES 14 56 70Ancient Theatre (ATH) 3 12 15World Theatre (WTH) 2 8 10Modern Greek Theatre (MGTH) 2 8 10Theory of Theatre and Drama (THE) 2 8 10General Instruction (GI) 3 12 15Workshops (W) 2 8 10FREE ELECTIVES 2 8 10Total number of courses 48 192 240

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PROGRAMME PLAN - UNDERGRADUATE STUDIESCOURSE SUMMARY TABLE

INDICATIVE PROGRAMME1

FIRST YEAR

SEMESTER I

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Introduction to Ancient Greek Theatre ATH011 L 4 5 42. Introduction to Theatre Studies (Modern Theatre) THE 041 L 4 5 43. Landmarks of Modern Greek Literature GI 052 L 4 5 44. Introduction to Theory and History of Dance GI 055 L 4 5 45. Introduction to Fine Arts GI 054 L 4 5 46. Elective2 4/5 5 4Total number of credits 30 24

SEMESTER II

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Renaissance and Elizabethan Theatre – Shakespeare

WTH 021 L 4 5 4

2. Dramaturgical Analysis I: Dramatic Texts of Classical Dramaturgy

THE 044 L 4 5 4

3. Dramaturgical Analysis II: Dramatic Texts of Modern Dramaturgy

THE 045 L 4 5 4

4. Elective 4/5 5 45. Elective 4/5 5 46. Elective 4/5 5 4

Total number of credits 30 24

1. Abbreviations used in the following table are: L (lectures), S (seminars), W (workshop); ATH (Ancient Theatre), WTH (World Theatre), MGTH (Modern Greek Theatre), THE (Theory), GI (General Instruction), W (Workshop), SEM (Seminar).2. Students choose electives courses according to semester of study. For the list of the Elective Courses offered during the academic year 2013-14 see the table of Elective Courses.

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SECOND YEAR

SEMESTER III

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Ancient Greek Tragedy II: Sophocles ATH013 L 4 5 42. European Theatre from the 17th to the 19th Century

(from Classicism to Romanticism)WTH 022

L 4 5 4

3. European Trends and Post-Revolutionary Greek Theatre Writing

MGTH032

L 4 5 4

4. Introduction to the History and Theory of Cinema GI 053 L 4 5 45. Major Theories of Acting THE 047 L 4 5 46. Elective 4/5 5 4


SEMESTER IV

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Ancient Greek Comedy: Aristophanes ATH015 L 4 5 42. Modern Greek Theatre of the First Half of the

20thCenturyMGTH 033

L 4 5 4

3. Trends in 20th Century Stage-Directing THE 046

L 4 5 4

4. Theatre of the 19th Century: Realism, Naturalism, Psychological Drama

WTH 023

L 4 5 4

5. Introduction to Acting and Stage-Directing W 063 W 5 5 46. Elective 5 4


THIRD YEAR

SEMESTER V

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Aristotle’s Poetics ATH 016 L 4 5 42. European Theatre of the 20th Century (1900- 1960)

WTH 024 L 4 5 4

3. Cretan Renaissance Theatre MGTH 031

L 4 5 4

4. Seminar I (Ancient Theatre): Introduction to theMethodology of Research

SEM 071 S 4 5 4

5. Semiotics of Performance THE 043 L 4 5 46. Elective 4/5 5 4


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SEMESTER VI

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Ancient Greek Tragedy III: Euripides ATH 014 L 4 5 42. Post-War Modern Greek Theatre MGTH

034L 4 5 4

3. Theatrical Set Design and Costume in Modern Times

WTH 026 L 4 5 4

4. Seminar III (Modern Theatre with Emphasis on Drama)

SEM 073 S 4 5 4

5. Elective 4/5 5 46. Elective 4/5 5 4Total number of credits 30 24

FOURTH YEAR

SEMESTER VII

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Theory of Theatre and Drama in Modern Times THE 042 L 4 5 42. Seminar II (Ancient Theatre) SEM 072 S 4 5 43. Elective 4/5 5 44. Elective 4/5 5 45. Elective 4/5 5 46. Elective 4/5 5 4Total number of credits 30 24

SEMESTER VIII

Title Course Code

Course Type

Hours ECTSCredits

Local Credits

1. Ancient Greek Tragedy I: Aeschylus THE 012 L 4 5 42. Seminar IV (Modern Theatre with Emphasis on Performance)

SEM 074 S 4 5 4

3. Elective 4/5 5 44. Elective 4/5 5 45. Elective 4/5 5 46. Elective 4/5 5 4Total number of credits 30 24

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DESCRIPTION OF UNDERGRADUATE COURSE UNITS

ACADEMIC YEAR 2015-16

MANDATORY COURSES LECTURES

Course title Introduction to Ancient Greek TheatreCourse code ATH 011Type of course Mandatory, LectureLevel of course UndergraduateYear of Study FirstSemester FirstECTS creditsLocal credits

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Name of lecturer Professor Theodoros StephanopoulosLearning outcomes At the end of the course the student should be able to:

Competences At the end of the course the student will have further developed the following skills/competences:

Course content This course examines the distinctive nature of ancient Greek theatre, with emphasis on the following topics: the dramatic contests and factors of performance, the theatre from an architectural point of view, the actors (historical information, costume, speech, and voice), the chorus (function, orchesis, and music), the audience, and the craftsmen of Dionysus. The development of Roman theatre is also briefly examined.

Prerequisites None. Successful completion of this course is a prerequisite for enrollment in any course of Ancient Theatre (ATH) in the 2nd, 3rd, and 4th years of study]

Language of instruction Greek

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Course title Ancient Greek Tragedy I: AeschylusCourse Code ATH 012Course Type Mandatory, Lecture (Prerequisite)Course Level UndergraduateCourse Year FourthSemester EighthECTS unitsLocal credits

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Name of Instructor Eleni Karabela, LecturerSubject Learning Outcomes Objectives

At the end of the course, students must:1. Have basic knowledge of the life and dramatic works of Aeschylus.2. Be able to describe the historical and intellectual environment in which

Aeschylus developed as a poet.3. Be acquainted with the themes and works of Aeschylus.4. Have adequate knowledge of the manuscript tradition and the editions of

Aeschylus’ extant works.5. Have knowledge of the poet’s extant works and their content.6. Be able to appreciate the articulation of the poet’s consecutive trilogy.7. Know the dramatic form and language style of the poet’s works.8. Recognise the distinctive features of the poet’s art as far as character

portrayal, chorus, music, and choreography usage are concerned. 9. Consider the place and role of fate and guilt in the poet’s tragedies.10. Be able to appreciate the status of gods, nemesis and ‘hybris’ in Aeschylean tragedy.

11. Appreciate the hold of satirical drama on the poet’s works.Skills At the end of the course, students will have developed the following

skills:Will have comprehended and will identify the means Aeschylus

implemented- as far as his works are concerned- in order to further the dramatic myth which originated in mythological tradition.

Will be able to identify the significant ideological and theatrical issues put forward by Aeschylus in his works.

Will discern the ideological, philosophical and dramaturgical features noted in the poet’s works.

Will have the ability to develop personal points of view related to certain tragic heroes, after the heroes’ dramaturgical role and place/status in the poet’s works have been taken into consideration.

Will shed light on critical aspects of Aeschylean works.Will distinguish the ideological axes which penetrate the works of

Aeschylus.Course content The introduction to Aeschylean tragedy deals with the conditions of ancient

performances, the workings of tragic myth starting from mythical tradition, the action, the structure, the thematic, the language of tragedy, and the use of rites, music and choreography, as well as the outline of characters, and the collective character of the chorus.

Prerequisites Students should have successfully completed the course: Introduction to ancient theatre (AT 011).

Language instruction Greek

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Course title Ancient Greek Tragedy II: SophoclesCourse code ATH 013Type of course Mandatory, LectureLevel of course UndergraduateYear of Study SecondSemester ThirdECTS creditsLocal credits

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Name of lecturer Eleni Karabela, LecturerLearning outcomes At the end of the course the student must:

1. Have basic knowledge of the life and dramatic works of Sophocles.2. Have been acquainted with historical data concerning the

cultural/intellectual environment of the State of Athens during its period of high prosperity (acme), in which Sophocles developed poetically.

3. Know the themes and works of the poet.4. Have adequate knowledge of the manuscript tradition and the editions

of the extant Sophoclean works.5. Be able to appreciate Sophocles’ personality via his works.6. Know the dramatic form and language style of the poet’s works.7. Recognise the distinctive features of the poet’s art as far as character

portrayal, chorus, music, and choreography usage are concerned.8. Consider the position of the human being in the world, and their

relationship with the gods in the poet’s works.9. Be able to appreciate Sophocles’ poetics with regard to the creation and

management of the tragic element.Skills/Competences At the end of the course, students will have developed the following

skills: Will have comprehended and will identify the means Sophocles

implemented-as far as his works are concerned- in order to further the dramatic myth which originated in mythological tradition.

Will be able to identify the significant ideological and theatre issues put forward by Sophocles in his works.

Will distinguish the ideological, philosophical and dramaturgical features noted in the works of the poet from Colonus.

After having considered the heroes’ dramaturgical role and place in the poet’s works, (the student) will have the ability to develop personal points of view related to certain Sophoclean tragic heroes.

Will be able to consider the significance and role of personal responsibility, ethical rules and duty in the poet’s works.

Will shed light on critical aspects of Sophoclean works. Will distinguish the ideological axes which penetrate the works of

Sophocles.Course contents The introduction to Sophoclean tragedy deals with the conditions of

ancient performances, the workings of tragic myth starting from mythical tradition, the action, the structure, the thematic, the language of tragedy, and the use of rites, music and choreography, as well as the outline of characters, and the collective character of the chorus.

Prerequisites Students should have successfully completed the course: Introduction to ancient theatre (ATH 011).

Language of instruction Greek.

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Course title Ancient Greek Tragedy III: EuripidesCourse code ATH 014Type of course Mandatory, lectureLevel of course UndergraduateYear of Study ThirdSemester SixthECTS creditsLocal credits

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Name of instructor Eleni Karabela, LecturerLearning outcomes At the end of the course the student is expected to:

1.Have a basic knowledge of the life and dramatic works of Euripides.2.Possess basic information on the historical and cultural milieu of the

polis of Athens in the classical era.3.Be aware of the basic themes permeating Euripides’ dramatic work.4.Be able to identify the distinctive features of the poet’s art.5.Possess basic information about the manuscript tradition and the

editions of Euripides.6.Be able to appreciate the dramatic form and language style of the poet’s

works, as exemplified by a representative play.7.Consider the place of human beings in Euripidean tragedy and on their

relationship with the gods.Skills/Competences At the end of the course, students will have developed the following

skills: To comprehend and identify the means by which Euripides transforms

traditional myth to create his dramatic plots. To identify the most significant ideological and theatre-related issues in

the works of Euripides. To identify the most notable ideological, philosophical and

dramaturgical features in Euripidean tragedy. To develop personal points of view on Euripides’ tragic characters, their

roles in the drama and their significance in the poet’s work. To consider the significance and role of personal responsibility and

ethics in the poet’s works. To point to ideological issues related to the work of Euripides.

Course content General introduction to the dramatic work of Euripides: elaboration of the dramatic myth in relation to mythic tradition. Subject, structure, action, and ideology of the plays with reference to political and cultural facets of the age of Euripides. Language, character portrayal and the chorus. Courses include the close reading of a complete tragedy or of excerpts from different tragedies.

Prerequisites Successful completion of Introduction to ancient theatre (AT 011).Language of instruction Greek

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Course title Ancient Greek Comedy: AristophanesCourse code ATH 015Type of course Mandatory, LectureLevel of course UndergraduateYear of Study SecondSemester FourthECTS creditsLocal credits

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Name of lecturer Assistant Professor Ioannis PanousisLearning outcomes At the end of the course the student should be able to:

1. Have a good knowledge of the origin and the beginnings of ancient Greek comedy.

2. Describe the conditions (place, time etc.) and the terms of performance of comedies during the classical period.

3. Be well informed on the comedy text tradition - mainly of the Aristophanic comedies.

4. Be familiar with the most important subjects that preoccupied Aristophanes in his work.

5. Recognize the main structural elements of Aristophanic comedy.6. Understand the connection of the Aristophanic comedies with the socio-

political conditions of their time.Competences At the end of the course the student will have further developed the

following skills/competences: Interpret the text of at least three Aristophanic comedies.Recognize the comic inventions of an Aristophanic comedy.Use the basic bibliography on the comedies of Aristophanes.Detect and justify the presence of certain fundamental characteristics of

Aristophanic comedy, such as parody and obscenity.Course content The introduction to ancient Greek comedy and to the theatre of

Aristophanes deals with the conditions of ancient performances, the workings of comic myth in relation to historical reality, the action, the structure and the thematic of Aristophanes’ comedy, the language, the importance of parody, the use of rites and religion, the role of comic character and the chorus.

Prerequisites Successful completion of the course: Introduction to Ancient Greek Theatre (ATH 011)

Language of instruction Greek. Additional tutorial support in English and French

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Course title Aristotle's PoeticsCourse code ATH 016Type of course MandatoryLevel of course UndergraduateYear of Study ThirdSemester FifthECTS creditsLocal credits

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Name of lecturers Dr Agis Marinis [teaching staff in contract]Learning outcomes At the end of the course the student should be able to:

1. Know the content of this classic treatise analytically and in detail. 2. Be sufficiently acquainted with the issues related to the manuscript

tradition, the nature of the work and date of composition. 3. Understand basic concepts such as mimesis, mythos, ethos, thought,

reversal, etc. 4. Be familiar with some basic principles of Aristotelian thought, so as to

better understand Aristotle’s works and his thought in general.5. Be aware of the views expressed and be able to interpret all the difficult

but important passages (such as the definition of tragedy in the 6th chapter, the primacy of poetry in relation to philosophy in the 9th chapter, etc.).

6. Have acquired a concrete idea of the monumental impact of the Poetics in modern times.

Skills At the end of the course the student will have further developed the following skills/competences:Study an essay accurately and in a methodologically sound manner.Develop abstract reasoning and critical thinkingProbe into the philosophical content of a work.Use the bibliography on a specific text.

Course content Aristotle’s brief treatise constitutes the first work of literary theory and is one of the most important such work of all ages. It also constitutes a basic source for the history of ancient drama, while during the modern era it greatly influenced the formulation of theories of poetry and theatre. The work will be taught in the original (using the critical edition of R. Kassel, Oxford, 1965). In addition to the analytical discussion of interpretive problems which the treatise presents, special emphasis will be given to the treatment of specific central meanings of Aristotelian theory (mimesis, mythos, catharsis, oikeia hedone, etc.) A translation by the instructor will be used to supplement teaching.



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Course title Renaissance and Elizabethan Theatre – ShakespeareCourse code WTH 021Type of course Mandatory, LectureLevel of course UndergraduateYear of Study FirstSemester SecondECTS creditsLocal credits

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Name of lecturers Assistant Professor Athena CoronisLearning outcomes At the end of the course the student should be able to:

1. Approach the differentiations of Renaissance theatre from its ancient and medieval sources, with examples from the theatre of the Italian and Spanish Renaissance, the Cretan theatre of the period of Venetian rule, and the Elizabethan-Jacobean theatre, with emphasis on its main representative, Shakespeare.

2. Examine the playwrights and the chosen plays within their historical frame.

Competences At the end of the course the student will have further developed the following skills/competences: Ability to compare popular topics of Renaissance dramaturgy. Deal with issues such as the dramatic genres and their particular

characteristics.Course contents Introduces the student to the Renaissance and Elizabethan theatre, the

history, ideology and conditions of its growth. Major authors of the period and Shakespeare’s contemporaries are studied. The class focuses on Shakespeare’s theatre. It considers the relationship of Shakespeare and the English Renaissance and the Shakespearean canon. It presents the chronological sequence of the Shakespearean plays –tragedies, comedies and histories, and studies their sources, dramatic forms, themes, characters, and styles of their performances.

Prerequisites NoneLanguage of instruction Greek. Additional tutorial support in English

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Course title European Theatre from the 17th to the 19th Century (from Classicism to Romanticism)

Course code WTH 022Type of course Mandatory, lectureLevel of course UndergraduateYear of Study SecondSemester ThirdECTS creditsLocal credits

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Name of lecturers Assistant Professor Ioanna PapageorgiouLearning outcomes At the end of the course the student should be able to:

1. Present the principal aesthetic and ideological elements of Classicism, Baroque, Enlightenment, and Romanticism.

2. Recognise the main characteristics of the dramatic work of the period’s most significant playwrights.

3. Analyse selected plays of the period according both to the principles of the theatrical movements they belong to and to the playwright’s specific traits.

4. Present the most significant developments of the theatre regarding acting styles and actors, management of theatre companies, types of theatrical space, scenic design, drama texts, and the audience’s social origins and preferences.

Competences At the end of the course the student will have further developed the following skills/competences:Explain particular theatrical phenomena according to their aesthetic

and ideological context. Identify the alterations of a theatrical phenomenon from one period to

another.Analyse the structure and content of a play in its simultaneity (cultural,

ideological and aesthetic context) and its relation to theatrical tradition.Course content The course focuses on the classical period of French Theatre, the English

Theatre of Restoration, the theatre of Enlightenment, and the dramatic genres and the theatre practices that are inscribed to Romanticism. Students study plays of Corneille, Molière, Racine, Goldoni, Marivaux, Goethe, Kleist, and Hugo. They also study a text from the genre of melodrama.

Prerequisites Successful completion of the course Introduction to Theatre Studies (Modern Theatre) (THE041)

Language of instruction Greek. Additional tutorial support in English

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Title of course The theatre of 19th century: Realism, naturalism, psychological drama Course code WTH 023Type of course MandatoryLevel of course UndergraduateYear of study Second Semester FourthECTS credits Local credits

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Name of Instructor Associate Professor Konstantinos KyriakosLearning outcomes At the end of the course students are expected to:

1.Have acquired knowledge of the key aesthetic movements of the 19th century and specifically realism and naturalism.

2.Compare and contrast their principles with the previous movements of classicism and romanticism.

3.Present the particular characteristics of each movement, as they developed in accordance with the respective European country (France, Norway, Sweden, Germany, Britain, Russia, and Italy), and the playwright.

4.Have sufficient knowledge of the bibliography on key dramatic texts of modern theatre.

5.Have comprehended the theoretical and methodological principles of approach to dramatic texts outstanding playwrights who played a decisive role in the history of theatre, such as Ibsen, Strindberg and Chekhov.

6.Discern the structure of the dramatic text and the potentials of its stage reading.

7.Identify the relationships between different dramatic texts and know the forms of commercial theatre.

8.Recognise the influence of the social and historical environment on the composition of a dramatic text, and the association of theatre with other disciplines, such as medicine, biology, philosophy and theology.

9.Recognise the components of the identity of dramatic characters, based on recent theories of gendered identities, and identify the factors in their formulation.

10.Identify the essential characteristics of 19th century comedy writing. Skills/ Competences At the end of course student will have further developed the

skills/competences to: Present the rules and principles of major aesthetic movements. Develop sound reasoning and produce probative discourse. Comparatively present the main features of dramatic types and their key

representatives. Apply methodological /theoretical approaches to drama during the

analysis of a theatrical text. Apply scientific criteria in order to use bibliography on drama and on

relevant cognitive objects, both scientifically and creatively. Identify the aesthetic, ideological and cognitive parameters that

determined the composition of a dramatic text.Course Content The naturalistic movement, social and psychological drama, the ‘well-

made” play, the entertaining spectacle and the boulevard in bourgeois society of the 19th century, the rise of the art of the director. Students study plays from Ibsen, Chekhov, Strindberg, Zola, Labiche, and Wilde.



21


Course title Theatre of the 20th Century (1900-1960)Course code WTH 024Type of course Compulsory, LectureLevel of course UndergraduateYear of Study ThirdSemester FifthECTS creditsLocal credits

54

Name of lecturers Assistant Professor Angeliki RosiLearning outcomes At the end of the course the student should be able to:

1. Have acquired sufficient knowledge of the major movements of the historical avant-garde (1875-1930) and the influence they exerted on drama and performance practice: Symbolism, Expressionism, Futurism, Dada, and Surrealism.

2. Present an outline of the major developments in European drama and performance during the inter-war years.

3. Have acquired sufficient knowledge of the major tendencies of European drama during the first post-war years (theatre of the absurd, political theatre).

4. Recognize and present the key formal elements of the plays which undermine the principles of realistic representation (dramatic time and space, story and plot, characters).

5. Present the major interactions between theatre and the other arts as well as the influence exerted by the philosophical and ideological trends of the period.

6. Be familiar with the different theoretical approaches of the plays under consideration.

7. Be familiar with the major bibliographical references concerning the dramatic production of the period (1875-1960).

8. Be familiar with the methodological research tools concerning the handling of primary and secondary sources and with the correct use of scientific supplement tools (references, footnotes, quotes).

Competences At the end of the course the student will have further developed the following skills/competences:• Distinguish the formal innovations in the dramatic production of the

period and classify the plays in the context of particular artistic movements or trends.

• Recognize the most important aesthetic, ideological and philosophical aspects that define the dramatic production of the period (1875-1960).

• Understand and interpret the work of the playwrights of the period under consideration.

• Place the particular plays in the wider framework of the development of European theatre, particularly in relation to the older classical tradition and to 19th century realism.

Course content The course examines the major theatrical movements in Europe during the first half of the twentieth century. The avant-garde movements: Symbolism, Expressionism, Dada and Surrealism. The theatre during the inter-war years. Brecht’s Epic Theatre, Artaud’s Theatre of Cruelty, Pirandello, Lorca and the French school of literary drama. Post-war drama: the theatre of the Absurd and political theatre during the 1950s



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Course title Genres and Forms of Musical Theatre from 1600 to the 20th CenturyCourse code WTH 025Type of course Mandatory, LectureLevel of course UndergraduateYear of StudySemesterECTS creditsLocal credits

54

Name of lecturersLearning outcomes At the end of the course the student should be able to:

1.Recognize the key types of musical theatre from the Renaissance up to the early 20th century.

2.Have an overview of the key stages of the history of musical theatre.3. Distinguish the characteristics of major composers and major librettists. 4.Describe musical theatre works based on the currents or/and on the

characteristics of their creators.5.Recognize the terminology of musical theatre.

Competences At the end of the course the student will have further developed the following skills/competences: To handle basic operatic concepts and use the key terms of musical

theatre. To identify differences between basic types of musical theatre. To describe the evolution of musical theatre.

Course contents An introduction to genres and forms of musical drama. Opera: recording and analysis of the main musical forms that comprise opera as well as the different genres of opera that have appeared in history.



Course title Theatrical Set Design and Costume in Modern TimesCourse code WTH 026Type of course Mandatory, LectureLevel of course UndergraduateYear of Study ThirdSemester SixthECTS creditsLocal credits

54

Name of lecturers Dr. Maria Konomis [teaching staff in contract]Course content The course concentrates on the morphology and the typology of the

theatrical building, the evolution of scene and scene technology, the overall artistic style of theatrical performance in different historical periods of theatre.



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Course title Cretan Renaissance TheatreCourse code MGTH 031Type of course Compulsory, LectureLevel of course UndergraduateYear of Study ThirdSemester FifthECTS creditsLocal credits

54

Name of lecturers Assistant Professor Areti VasiliouLearning outcomes At the end of the course the student should have:

1. Acquired preliminary knowledge of Italian Renaissance theatre and its dramatic genres (tragedy, comedy, religious and pastoral drama), which influenced the respective dramatic genres of Cretan theatre during the period of Venetian occupation in the 16th and 17th centuries.

2. Comprehended the general meaning of the term ‘Cretan Renaissance’ as a chronological and cultural period which defined a part of the Greek-speaking world in contact with the Italian Renaissance and the European baroque.

3. Acquired knowledge of the forerunners of Cretan literature and poetry, and especially of the Cretan playwrights (Georgios Chortatsis, Ioannis Andreas Troilos, Marcos Antonios Foscolos), as well as of the themes and forms of their plays.

4. Learned to compare each Cretan play with its respective Italian model by analysing their similarities and differences, in order to discern any original contribution of the Cretan playwrights in relation to their Italian sources.

5. Become informed of the continuous restoration of the dramatic texts by Greek and foreign scholars.

6. Become aware of the phenomenon of the influence of a written theatrical text on the subsequent development of oral popular culture (conversion of Cretan dramas to the Ionian-islands’ popular ‘Omilies’).

7. Been familiarised with the sources related to likely performances of Cretan dramas during the period of their composition, as well as to their revival by important stage directors of the Inter-War period (Fotos Politis, Karolos Koun, Spyros Melas, Giannoulis Sarantidis)

Competences At the end of the course the student will have further developed the following skills/competences:

To define the social and ideological context of both Italian Renaissance and Cretan culture during the Venetian occupation

To understand without difficulty the Cretan dialect of the dramatic texts of that period.

To compare Cretan dramas with their Italian models.To define the distinctive features of each dramatic genre (comedy, tragedy,

religious and pastoral drama) that attracted the interest of Cretan playwrights.To compare the themes and the forms of texts that belong to the same or a

different genre.To recognise the transference of Cretan dramas into their stage interpretations in

the modern era.Course content An introduction to the historical, social and cultural background of Renaissance

Crete, followed by an analysis of the plays Erophili, Panoria, and Katsourbos by Georgios Chortatsis and The Sacrifice of Abraham (by a Cretan poet). Consideration is given to the modern staging of Cretan Renaissance theatre.


Language of instruction Greek. Additional tutorial support in English and French.

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Course title European Trends and Post-Revolutionary Greek Theatre WritingCourse code MGTH 032Type of course Mandatory, LectureLevel of course UndergraduateYear of Study SecondSemester ThirdECTS creditsLocal credits

54

Name of lecturers Assistant Professor Areti VasiliouLearning outcomes At the end of the course the student should:

1. Be acquainted with the 19th-century social and trends in Europe and Greece that led to the emergence of both nationalism and the historically oriented national identity.

2. Have knowledge of the development of the first Modern Greek professional theatre companies from their beginning until their consolidation in the Greek State and in the Greek communities of the Eastern Mediterranean area, through the practice of theatrical tours.

3. Be aware of the factors that delayed the consolidation of Greek companies in their own country (dominance of Italian opera and French operetta, lack of state funding, scarcity of cultivated audiences and actors, shortage of plays and theatre buildings).

4. Acquire knowledge of the principal playwrights and their views, and of the main representatives of Romantic drama (Ioannis Zambelios, A. R. Rangaves, Panayiotis Soutsos, Demetrios Vernardakis, Spyridon Vasiliades, Kleon Rangaves, Timoleon Ampelas etc.).

5. Understand the principles of the Greek Romantic manifestos (‘Preface’ in Al. R. Rangaves’ Frosini, ‘Forewords’ to D. Vernardakis’ Maria Doxapatri), apply those principles to the texts, and comprehend their differences in relation to the rules of Classicism (such as the German-bred veneration of Shakespeare, the commencement of the study of Byzantine and Modern-Greek history, the violation of Aristotelian rules, the nostalgic return to folk tradition).

6. Comprehend the reasons behind the use of “katharevousa” in Modern Greek Romantic drama during the 19th century.

7. Have acquired an overview of the particular character of Greek Classical Romanticism and its deviation from European Romanticism.

8. Be acquainted with Greek comedy of the Othonian and Georgian periods (A. R. Rangaves, Demetrios Vyzantios, Mich. Chourmouzis, Angelos Vlachos, Demetrios Koromilas, etc) and its models (comedy of social manners/ ethography, Moliere’s edifying comedy, and Aristophanes).

9. Be acquainted with the invasion of the entertaining “boulevard” theatre on the Modern Greek stage, and the maturing of the comedy of bourgeois manners by the playwrights Nikolaos Laskaris, Elias Kapetanakis, and Charalampos Anninos.

10. Be acquainted with the forms of commercial theatre which inundated the Greek stage during the last quarter of the 19th century, such as Vaudeville (komeidyllion), the Dramatic Idyll, and Melodrama.

Competences At the end of the course the student will have further developed the following skills/competences: To recognize the ideological and historical parameters of the period

under study. To discern the main characteristics of the aesthetic movements analysed

during the course, and apply them to specific dramatic texts of the 19th

25


century. To understand without difficulty the katharavousa of 19th-century

dramas and comedies. To discern the alterations which the ideological and aesthetic

movements had undergone during their transmission from Europe to the Greek ideological and artistic environment.

To realise the particularities of stage practices in the Greek Theatre of the period (formation of theatre companies, acting methods)

To appraise the significance of both the commercial and the artistic theatres, and the social and educational composition of the spectators

Course content The different phases in the establishment of professional theatre in the independent state (1828 to the end of the 19th century in Syros, Nauplio, Patras, Athens, touring in East Mediterranean and final establishment in the Greek capital). The formulation of dramatic genres in dialogue with European ones: classical-romantic tragedy (I. Zambellios, A.R. Ragavis, P. Soutsos, D. Vernardakis, S. Vasiliadis, etc.), comedy (I. R. Neroulos, D. Byzantios, M. Chourmouzis, A. R. Ragavis, A. Vlachos, D. Koromilas, N. Lascaris, etc.), operetta, and dramatic romance. The role of foreign theatre on the Greek stage (Italian opera, French operetta, melodrama).


Language of instruction Greek [Additional tutorial support in English and French]

Course title Modern Greek Theatre of the First Half of the 20th CenturyCourse code MGTH 033Type of course Compulsory, LectureLevel of course UndergraduateYear of Study SecondSemester FourthECTS creditsLocal credits

54

Name of lecturers Assistant Professor Areti VasiliouLearning outcomes At the end of the course the student should:

1. Know the conditions of professional Athenian theatre during the first two decades of the 20th century – a theatre leaded by the first two Greek stage directors, Constantinos Christomanos (‘Nea Skini’) and Thomas Oikonomou (‘Vasilikon Theatron’), whose stage practices were modelled according to the ensemble work of the independent theatres at the beginning of the 20th century (Α. Antoine, Ο. Brahm, J. Grein, Lugné-Poë, K. Stanislavski- V. Nemirovich-Danchenko)

2. Be acquainted with the reception of the period’s European avant-garde by Greek intellectuals (introduction of Ibsen and realistic-naturalistic drama, of Aestheticism and Symbolism).

3. Be able to analyse the dramatic work of the most important exponents of the demotic language, who, at the same time, were representatives of the above-mentioned aesthetic movements (Gr. Xenopoulos, G. Kampyses, K. Palamas, G. Psycharis, N. Kazantzakis, P. Nirvanas, D. Tagopoulos, Sp. Melas, P. Horn etc.).

4. Be able to analyse the preoccupation of the above-mentioned playwrights with social problems, with the issue of woman’s emancipation, and with the issues of equality and family relationships.

5. Be acquainted with the formation of the professional theatre of the Inter-War period.

6. Be acquainted with the demand for theatre modernisation and

26


regeneration made by dramatic schools, by the newly educated generation of actors, by avant-garde stage directors (Sp. Melas, C. Koun, G. Sarandides, F. Politis, D. Rontires, Mich. Kounelakis, V. Rotas), by trade-unionist actors, and by the pioneering companies of young actors (‘Thiasos Neon Pagratiou’, Vasilis Rotas’ Laiko Theatro’, etc).

7. Be able to discuss the reception of avant-garde European movements by the Greek playwrights of the Inter-War period (Freudian psychoanalysis, Bergsonian psychology, Pirandello and theatricalism, surrealism, and the application of cinematic tableau to drama),

8. Be aware of the older dramatic forms that survived – sometimes having been modernised –during the Inter-War period (historical drama, ethography, naturalism and Ibsen’s realism, psychological drama after the model of Anton Chekhov, preoccupation with women’s independence)

9. Be able to describe the progress of the National Theatre’s foundation in 1932 and its effect on the professional theatre before and after the Metaxas dictatorship.

10. Have acquired the knowledge of the theatrical form that appeared during the period of Greek Resistance – otherwise known as ‘the Theatre of the mountains’ - in the 1940s, whose main representatives were V. Rotas, G. Kotzioulas, and G. Kaftantzes.

Competences At the end of the course the student will have further developed the following skills/competences: To define the particular characteristics of each principal Greek stage

director of the period and the influences exerted by their European colleagues.

To define the identity of the principal theatre companies of the period as well as the criteria according which those companies have been classified among either avant-garde or traditional theatres.

To identify the main formalistic and thematic elements of the European aesthetic movements of that period, and to apply those elements to specific Greek dramatic texts of the same period.

To identify the impact of the ideological and social context of that period on the content and the structure of the dramatic texts.

To recognise the impact of the epistemological and artistic achievements (psychological, philosophical, cinematic, musical) on the Greek theatre of that period.

Course contents The transition of dramaturgy from the old forms of the 19th century (classical-romantic historic tragedy, operetta, dramatic romance) to new forms of the 20th century: naturalistic and realistic drama, aestheticism and symbolism according to European models. The effort of the first Greek professional directors to imitate European “independent” theatres. The developments in Greek theatre and drama during the inter-war period. The foundation of the National Greek Theatre. The theatre of the Greek Resistance (‘the Theatre of the mountains’).


Language of instruction Greek [Additional tutorial support in English and French]

27


Title of course Post-War Modern Greek TheatreCourse c ode MGTH 034Type of course Mandatory, LectureLevel of course UndergraduateYear of Study ThirdSemester SixthECTS creditsLocal credits

54

Name of lecturer Assistant Professor Angeliki RosiLearning Outcomes At the end of course the student is expected to:

1. Know the main post-war modern Hellenes writers in terms of their work’s distinctive features.

2. Have been acquainted with the different trends followed by post-war Greek theatre from the early 1950’s until the 21st century.

3. Know the interactive relationship of Modern Greek theatre with various European and American dramaturgical currents.

4. Identify different structural features which characterise different tendencies of post-war Greek dramaturgy.

5. Employ the necessary theoretical tools through which the dramatic texts of post-war theatre are approached and analysed.

6. Have been familiarised with the particular stylistic formulation and thematic fields of contemporary Modern Greek writers along with basic biographical facts..

7. Have acquired a relatively comprehensive picture of onstage representations of these plays and directorial interpretations which accompany them.

Skills/Competences At the end of course students will have developed the following skills: To recognise the particular stylistic form and dramaturgical mark of

different Modern Greek writers. To have developed the ability to analyse their work dramaturgically in the

light of different theoretical approaches. To place the work of Modern Greek writers in the particular socio-historical

environment of their creation, but also to recognise the socio-ideological components put forward by these plays.

To highlight the relationship of each Modern Greek play with works of world dramaturgy via comparative and intertextual approaches.

To have formed a thorough and detailed view of the dramaturgical issues arising from any stage representation of the play.

To apply the acquired knowledge to practical onstage realisation of post-war Greek theatre dramatic texts, which constitutes a full approach to theatre as a whole.

Course content Greek post-war dramaturgy and the pluralism of genres through different theatrical approaches suggested by the texts and their scenic realisation . From Iakovos Kambanellis’ theatre to contemporary tendencies. From realism to post-modern resonances. The inter-textual relationship of post-war Modern Greek theatre to ancient drama and world theatre. Lectures are based on texts by I. Kambanellis, L. Anagnostaki, P. Matesis, V. Ziogas, M. Lymberaki, Y. Maniotis, A. Staikos, Y. Chrysoulis, E. Pegga, P. Takopoulos, K. Mourselas, D. Dimitriadis, etc.



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Course title Introduction to Theatre Studies (Modern Theatre)Course code THE041Type of course Mandatory, Lecture (Prerequisite)Level of course UndergraduateYear of Study FirstSemester FirstECTS creditsLocal credits

54

Name of lecturers Assistant Professor Giorgos SampatakakisLearning outcomes At the end of this course the student should:

6.Know the most important theories regarding the origins of theatre.7. Recognize the generic characteristics of theatrical art.8. Describe the key terms of theatrical art (drama, dramatis persona, theatre

space, scenic design, costume, stage-direction, acting).9. Differentiate the most important types of: dramatis personae, drama

genres, plot structure, theatrical space, scenic design, acting style, and staging.

10. Acknowledge the main methodological approaches of theatre11. Know the most significant titles of theatre bibliography.12. Remember the principal movements, persons and plays of European and

Modern Greek theatre.Competences At the end of the course the student will have further developed the

following skills/competences: Use the key terms of theatrical art. Distinguish between theatre criticism and scholarly study of theatre. Utilise the basic theatre bibliography. Conceptualise the development of theatre as a process of distinctive

periods in historical time.Course contents I) Nature and the origins of theatre

II) Introduction to the art of theatre: a) dramatic text, Dramatis personae (character, type etc.), language, and genres. b) Performance: theatre space –design-costumes, actors and acting, directors and Stage-Directing. III) Historical account of the theatre studies and basic methodological approaches. Reference books and bibliography IV) Short review of the history of European and Greek theatre.

Prerequisites None. Successful completion of this course is a prerequisite for enrollment in any course of World Theatre (WTH), Modern Greek Theatre (MGTH), and Theory of Theatre (TH) in the 2nd, 3rd, and 4th years of study.

Language of instruction Greek [Additional tutorial support in English]

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Course title Theory of Theatre and Drama in Modern TimesCourse code THE042Type of course Mandatory, LectureLevel of course UndergraduateYear of Study FourthSemester SeventhECTS creditsLocal credits

54

Name of lecturers Assistant Professor Giorgos SampatakakisLearning outcomes At the end of the course the student should be able to:

1.Have adequate knowledge of the most important theatre and drama theories (and their source texts) from the Renaissance to the 20th century.

2.Keep track of the evolution of these theories and how they are connected to the social and political history of each historical period.

3.Keep track of the ways in which the theoretical discourse on theatre is constructed in the context of certain philosophical and aesthetic movements as well as in the context of the dominant ideologies about the function and meaning of representation in the arts.

4.Understand the interrelation between theoretical discourse and theatre practice in different historical periods.

5. To track down the different focus of attention paid by different theories in hierarchizing the elements of theatre (drama, actor, space, time, scenography, and director).

6. To track the basic points of the theories discussed in characteristic plays of each period.

7. Have adequate knowledge of the general bibliography on the theories of drama and theatre in modern European Theatre.

Competences At the end of the course the student will have further developed the following skills/competences: To identify the structural principles of drama and theatre theories from the

Renaissance onwards. To analyze theoretical texts on drama and theatre, and track down their

discursive and ideological differences. To identify and evaluate the most important elements included in the

theoretical discourse about drama and theatre in the context of the historical evolution of Modern European Theatre.

To place the drama production of each period and the different manifestations of the art of theatre in the context of the contemporary theatre and drama theories.

Course content The course examines the main theories on drama and the art of performance during the period from the Italian Renaissance up to the avant-garde movements of the early 20th century. It aims at presenting the theoretical texts and at highlighting the way in which they were incorporated into playwriting and stage practice. The source-texts are studied in reference to the dominant aesthetic, cultural, social and ideological tendencies of each period.



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Title of course Semiotics of PerformanceCourse code THE 043Type of course Mandatory, lectureLevel of course UndergraduateYear of Study ThirdSemester FifthECTS creditsLocal credits

54

Name of lecturer Professor Dimitris TsatsoulisLearning outcomes At the end of course students should:

1. Know the basic concepts of semiotics theory and communicative action. 2. Recognise the codes and semiotic systems both in social life and in artistic works. 3. Fully understand the individual semiotic systems of performance - visual, auditory, olfactory, taste, tactile- and their function. 4. Proceed to the synthetic perception of individual semiotic systems and recruit their co-functional mode in the production of meaning, as far as the performance is concerned.5. Perceive individual theatrical devices, such as the appeal of theatrical illusion, invalidation of information during the performance, theatre-in-theatre, the function of feedback, and the integration of the spectator into the event.6. Understand the role and function of stage and wider theatrical space configuration in combination with the desired message of the performance.7. Distinguish -via linguistic, paralinguistic, gestural and overall kinesic codes- the double entity of actor/ dramatic person.

Skills/Competences At the end of course, students will have developed the following skills: To demonstrate knowledge of essential tools of semiotic analysis. To accurately use terminology of the semiotics of theatre theory. To apply the acquired theoretical knowledge to specific current theatrical

performances. To proceed to simultaneous analytic and synthetic perception of individual

semiotic systems while viewing a performance. To understand the relationship between the dramatic text and its concrete stage

realisation, so as to be able to identify the directorial current which is followed along with the intentionality of performance.

To understand the interaction established between stage events and spectators. To understand the obscure points of the performance and develop relative

extended study skills, so that theoretical gaps which arise from research on-the-spot (performance viewing) will be filled in.

To apply critical analysis to the performance as “whole” and critical evaluation/assessment based on objective theoretical tools.

Course contents The course focuses on the semiotic analysis and study of performance.Topics of analysis: semiotic systems and codes of performance kinesic, gestual, and mimic codes the semiotic function of the body of the actor/actress the actor/actress’ relation with the role and the dramatic character the parameters of dramatic, scenic and theatrical space and time the semiotic functions of stage properties, lighting, music, etc. the relation of the spectator with the theatrical event the mechanisms of reception


Language of instruction Greek [Additional tutorial support in French]

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Course title Dramaturgical Analysis I: Dramatic Texts of the Classical DramaturgyCourse code THE044Type of course Compulsory, LectureLevel of course UndergraduateYear of Study FirstSemester SecondECTS creditsLocal credits

54

Name of lecturer Assistant Professor Ioanna PapageorgiouLearning outcomes

At the end of the course the student should be able to:1. Know sufficiently the classical dramatic texts. 2. Have acquired the basic methodology for the analysis of classical dramatic texts.3. Know the modes of approaching critically a dramatic text.4. Place a dramatic text within a specific literary period/tendency/movement.5. Analyse and compare the themes and the characters of a dramatic text.6. Examine plays, themes and characters intertextually.7. Recognise the particular characteristics of a playwright of the classical era.8. Know the socio-historical environment of a playwright.9. Know the influence that a playwright has undergone and the impact he/she has

had on other writers.10. Appreciate the language, the style, the stage-directions, the space and the time

of a dramatic text.11. Have sufficient knowledge of the bibliography on classical dramaturgy and on

each playwright individually.12. Know the rules of using sources and bibliography, and be acquainted with the

methods of recording scholarly information (references, footnotes, and quotations).

Competences At the end of the course the student will have further developed the following skills/competences: To examine a text of classical dramaturgy by using the basic tools of dramatic

analysis and by applying various critical approaches. To place a dramatic text within a specific literary period/ tendency/ movement. To analyse and compare the themes and the characters of a dramatic text. To construct their own views on the characters of a play according to their role in

the dramatic text and in the work of the playwright. To approach plays, themes, and characters intertextually. To discover the ideological and dramaturgical matters questions that a playwright

poses presents through his/her plays. To identify the particular ideological, philosophical and dramatic characteristics of

a playwright by examining his/ her plays. To expand on the work of a classical playwright. To appreciate the place of a playwright’s work in the pantheon of world

dramaturgy.Course content The course focuses on subjects dealing with the nature of drama during the classical

era. Methods and ways for better understanding, evaluating and analysing a play are discussed. Various types of plays created in the aforementioned period, their plot and structure, themes and motifs, intertextuality and language, as well as stage directions, character types, production and performance, the relationship between reader-audience and the play are examined. Texts discussed and analysed may include works of authors such as Seneca, Marlow, Shakespeare, Racine, Molière, Goldoni, Kleist.

Prerequisites NoneLanguage of instruction

Greek [Additional tutorial support in English]

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Course title Dramaturgical Analysis II: Dramatic Texts of Modern DramaturgyCourse code THE045Type of course Compulsory, LectureLevel of course UndergraduateYear of Study FirstSemester SecondECTS creditsLocal credits

54

Name of lecturers Assistant Professor Giorgos SampatakakisLearning outcomes At the end of the course the student should be able to:

1. Have sufficient knowledge of modern dramatic texts.2. Have acquired the basic methodology of the analysis of modern dramaturgy

(Western-European, Russian, American theatre).3. Know the modes of approaching critically a dramatic text.4. Place a dramatic text within a specific literary period/tendency/movement.5. Analyse and compare the themes and the characters of a dramatic text.6. Examine plays, themes and characters intertextually.7. Recognise the particular characteristics of a playwright of modern

dramaturgy.8. Know the socio-historical environment of a playwright.9. Know the influence that a playwright has undergone and the impact she/he

has had on other writers.10. Appreciate the language, the style, the stage-directions, the space and the

time of a dramatic text.11. Have sufficient knowledge of the bibliography on modern dramaturgy and

on each playwright individually.12. Know the rules of using sources and bibliography, and be acquainted with

the methods of recording scholarly information (references, footnotes, and quotations).

Competences At the end of the course the student will have further developed the following skills/competences: Ability to examine a text of modern dramaturgy (Western-European,

Russian, American theatre) by using the basic tools of analysis and by applying various critical approaches.

To place a dramatic text within a specific literary period/tendency/ movement.

Ability to construct their own views on the characters of a play according to their role in the dramatic text and in the work of a playwright.

To approach plays, themes, and characters intertextually. To discover the ideological and dramaturgical matters that a playwright

posits through his/her plays. To define the ideological axes which permeate the work of a playwright. To expand on the work of a playwright of modern dramaturgy. To appreciate the place of a playwright’s work in the pantheon of world

dramaturgy.Course content The scope of the course, which is a sequence to Dramaturgical Analysis I, is to

further familiarise students with methods and ways for better understanding, evaluating and analysing a play of the modern period. Texts that are analysed may include works of Ibsen, Strindberg, Chechov, Shaw, Pirandello, Lorca, Anouilh, Brecht, Beckett, Pinter, Stoppard. Each semester texts may vary.

Prerequisites NoneLanguage of instruction Greek

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Course title Trends in 20th Century Stage-DirectingCourse code THE046Type of course Mandatory, LectureLevel of course UndergraduateYear of Study SecondSemester FourthECTS creditsLocal credits

54

Name of lecturers Assistant Professor Aikaterini Arvaniti.Learning outcomes At the end of the course the student should:

1. Know, in an analytic and systematic way, the origin and development of the significance of the director’s role from the early 20th century onwards, so as to become familiarised with the important role directors play in modern stage practice.

2. Comprehend, in depth, the particular traits of different directorial approaches, both on theoretical level and in their stage implementation.

3. Be aware of the significant theories of great directors with regard to theatrical action, as well as the influence exerted on younger artists.

4.Have a clear picture of the history of the tendencies in stage-directing and thus interpret modern events in the world of directing.

Competences At the end of the course the student will have further developed the following skills/competences: To classify and interpret the directorial tendencies of our era either as new

currents or as a revival of older ones. To better understand the contemporary manifestations of the art of

direction and to follow the dialogue with other, different stage practices. To decode each directorial code and be able to undertake their critical

assessment.Course content The course focuses on the main directorial trends which formulated the

theatre staging of the 20th century: Antoine and naturalism, - Dadaistic and surrealistic acting -Meyerhold, – Aristotle and Brecht,-“La Mamma”, - Peter Brooke-, Peter Stein, the French directorial movement-, etc. Contemporary movements: Tony Harrison, Bob Wilson etc. The mixture of civilisations: Tadashi Suzuki (Japan), Wole Soyinka.



Title of course Major Theories of ActingCourse THE 047Type of course Mandatory, LectureLevel of course UndergraduateYear of study SecondSemester FourthECTS CreditsLocal credits

54

Name of Instructor Associate Professor Konstantinos KyriakosLearning outcomes At the end of the course students are expected to:

1.Know the major views and opinions on the art of acting developed mainly during the 20th century

2.Comprehend the influence of the social and historical environment in the formulation of these theories.

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3.Have acquired sufficient knowledge of bibliography on the theoretical texts of modern theatre directors and actors.

4.Have understood the theoretical structures and the methodological approaches to the phenomenon of acting.

5.Associate the actor with the other components of the performance.6.Identify the relationships between different approaches to acting,

especially those of Diderot, Stanislavski, Meyerhold, Brecht, Artaud, Grotowski.

7.Recognise the influence of other arts and sciences upon the art of acting. 8.Recognise the constituent elements of identity of dramatic persons and the

way via which the actors undertake their performance. Skills/ Competences At the end of course students will have developed the following skills:

To identify the relation of theory to practice in the art of theatre. To develop sound reasoning and produce probative evidence around the

actor’s approach to the interpretation of a role in each performance. To apply the theoretical approaches, which focus on the art of acting, to

the approach of different phases of interpretation of dramatic characters on stage.

To identify the significance of the actor’s body and voice and associate them with the fundamental elements of the physical sciences and the humanities.

Course content The course discusses the following topics on acting and the actor’s creativity: -Constantine Stanislavsky and the Moscow Art Theatre. Study of his

Method. The impact of I. P. Pavlov and his theory of conditional reflexes on the formation of the Method. The actor M. Cepkin and P. V. Simonov’s neuro-physiologic interpretation of the Method.

- Stanislavsky’s pupils: Vakhtangov and M. Chekhov.- Stanislavsky’s successors: Lee Strasberg and the Actors’ Studio – The

Method in American theatre and cinema. The Method’s influence on the Western world: Strasberg’s followers, Sonia Moor, Karolos Koun and the Art Theatre in Athens.

- Antonin Artaud’s “Theatre of Cruelty” and the training of the mystagogic actor. Relationship with Balinese Theatre.

-Artaud’s followers in Europe. The Greek example: Yiannis Kakleas’ demands from the actor.

- Bertold Brecht’s epic system, and the theory of alienation. The actor-narrator.

- Jerzy Grotowski, the “Poor Theatre” and the “suffering” actor.-Gordon Graig and the actor-puppet.-Great stage interpreters: Eleonora Duse, Sarah Bernhardt, Laurence

Olivier, Jean-Louis Barrault, etc. The great mimes: from Jean - Gaspard Deburau to Marcel Marceau or the speaking mimes from Charlie Chaplin to Dario Fo.

- Re-examining Denis Diderot’s “paradox”.-Modern acting methods (bio-energy, bio-mechanics, mingling of eastern

and western types of acting etc.)- The acting art of performance



Course title Landmarks of Modern Greek Literature Course number GI052

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Mandatory / Elective Mandatory, LectureCourse level UndergraduateYear of study FirstSemester of study FirstECTS creditsLocal credits

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Name of instructor Assistant Professor Theocharoula Niftanidou [Department of Primary Education]

Course objectives At the end of the course the student are expected to have acquired:1. A satisfactory knowledge of the development of modern Greek literature in time and in space and in relation to contemporary European literary movements.2. Detailed knowledge of selected works of modern Greek literature (prose and poetry from the Cretan Renaissance to the mid-twentieth century) in their historical, social and cultural contexts.3. Knowledge of relevant studies of the selected works and have become familiarized with the use of bibliography and the scholarly approach to literary texts.

Skills/Competences By the end of the course the student will have developed the following skills: To read a literary text in depth. To develop an argumentation and substantiate his/her ideas. To apply scholarly criteria to the use of the relevant bibliography.

Course content A survey of Modern Greek Literature from its beginnings to the present, with analysis of passages from works of selected authors.

Prerequisites NoneLanguage of instruction Greek

Course title Introduction to the History and Theory of CinemaCourse code GI 053Type of course Mandatory, Lecture (Prerequisite)Level of course UndergraduateYear of Study SecondSemester ThirdECTS creditsLocal credits

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Name of lecturer(s) Assistant Professor Chrysanthe SotiropoulouLearning outcomes At the end of the course, students are expected to:

1. Have become acquainted with the language of cinema.2. Fully comprehend the longitudinal course of the cinematic process:

Production- Film distribution-cinema/theatre.3. Have become aware of the cultural aspects of the seventh art and its

institutional bodies/organisations.4. Know the basic concepts of film language and analysis.5. Have knowledge of some of the most important European directors.6. Demonstrate the ability to understand the general principles of film

theory. Skills/Competences At the end of the course the student will have further developed the

following skills/competences:Be familiar with film terminology, and apply it when requested.Be able to analyse the principal characteristics of a movie and recognise

the respective era during which the film was shot, as well as the artistic

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film trend the movie belongs to.Course contents A thorough study of the cinematic process in the 20th century through

movies, directors and spectators. Thematic explorations, aesthetic formulations, theoretical approaches. The artistic movements and their role in the history of cinema and its relationship with spectators.

Prerequisites None. Successful completion of this course is a prerequisite for enrollment in any course related to the Cinema in the 2nd, 3rd, and 4th

years of study.Language of instruction Greek Additional tutorial support in English

Course title Introduction to Fine ArtsCourse code GI054Type of course Mandatory, Lecture (Prerequisite)Level of course UndergraduateYear of Study FirstSemester FirstECTS creditsLocal credits

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Name of lecturers Associate Professor Martin KreebLearning outcomes At the end of the course the student should be able to:

1. Perceive the relation between point, line, plane, and solids.2. Know the components of the painting code: Structure/Composition,

Design, colour, materials.3. Distinguish the terms: prehistoric, primitive, Medieval, Renaissance-

related, classical, classicism, neoclassicism, modernism, and the historical conditions of their formation.

4. Discern the basic orders: Romanic, Gothic, Baroque, Manierism, and Rococo.

5. Know significant artists and their work. 6. Be familiar with the elementary bibliography that covers various periods

of the history of art.Competences At the end of the course the student will have further developed the

following skills/competences: Possess a general overview of the historical course of art from cave-

painting to the emergence of modernism. Recognise terms and styles. Utilise the elementary bibliography.

Course contents The course covers the period from the art in the “caves” of the society of hunters to the appearance of the first bourgeois artistic movements of the Renaissance and French revolution. It is structured around the main concepts of painting, sculpture, architecture and is based on visual material.

Prerequisites None. Successful completion of this course is a prerequisite for enrollment in any course related to the History of Arts of in the 2nd, 3rd, and 4th years of study.

Language of instruction Greek [Additional tutorial support in English and German]

Course title Introduction to Theory and History of Dance

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Course code GI055Type of course Mandatory, LectureLevel of course UndergraduateYear of Study FirstSemester FirstECTS creditsLocal credits

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Name of lecturers Assistant Professor Katia SavramiLearning outcomes At the end of the course the student should be able to:

1. Recognize the notion of dance both in its practice and theory.2. Understand different forms and characteristics of dance and distinguish its

different functions. 3. Know and understand the body as a mean of communication.4. Recognize styles and forms of dance and its historical and socio-political

context within each different choreographic genre developed. 5. Know the historical and social facts that influenced the development of

dance.6. Examine and, then categorize dance performances within the appropriate

historical period to which they belong. Competences At the end of the course the student will have further developed the

following skills/competences: To recognize the notion of dance, its characteristics, methods and theory. To appreciate theoretical knowledge in order to critically discuss dance

performances. To describe and analyze the aspects of dance performance. Oral (initially) and written skills for presenting a lecture and a short

thesis, on the same topic, within a historical research method. To search out information on various topics concerning dance for further

research (bibliography, electronic sources and dance performances through the internet).

Course contents The notion of dance is discussed and analyzed in a broad perspective. An introduction to dance methodologies and tools for investigating and documenting dance, in particular the five structural components of movement: Body, Actions, Dynamics/ Time, Relationship and Space. Fundamental theory of anthropology and theory of body language is presented. History of dance is introduced in brief, from Ancient Greece to the Middle Ages. The beginning of Ballet in the 15th century and its development until the 19th century is discussed with reference to different styles. The development of dance in the 20th century is presented with special reference to Modern Dance, Post-Modern Dance, Dance Theatre, Physical Theatre and New Dance. Emphasis is given to the links between dance and theatre.

Prerequisites NoneLanguage of instruction Greek [Additional tutorial support in English]

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MANDATORY COURSES WORKSHOPS

Course title Introduction to Acting and Stage-DirectingCourse code W063Type of course Mandatory [workshop, 5 hours weekly]Level of course UndergraduateYear of Study SecondSemester FourthECTS credits Local credits

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Name of lecturers Despina Georgakopoulou, Special Subject TeacherLearning outcomes At the end of the course the student should be able to:

1. Know the basic principles of acting.2. Know specific exercises derived from different acting methods – and the

different marks of each method.3. Recognize their personal vocal potential through breathing and vocal exercises.4. Identify the connection between movement and voice in acting.5. Describe and understand the key terms of acting such as subtext, objective,

action.6. Know the most significant titles of 7. Play performactions and reactions while working on a role

Competences At the end of the course the student will have further developed the following skills/competences: Use the basic principles of acting. Use specific exercises derived from different acting methods - appraise the

results of each exercise. Exploit their personal vocal potential through breathing and vocal exercises. Apply the connection between movement and voice. Use the key terms of Acting such as subtext, objective, action. Utilize the elementary the bibliography on acting.Work on a role.

Course content

Directing

Acting

Introduction to basic principles of stage-directing and to its indispensable role in the production of the performance. The workshop focuses especially on the relationship between the stage-director and the text: criteria of play selection; aspects clarified by the stage-direction; role of the playwright’s stage-directions; the director as interpreter of a text and as creator. Other aspects that the course examines are: the relationship between the director and the actor; stage interpretation of the text and the factors that condition its stage adaptation (speech, sound, music, lighting, scenery, and costumes); the director as “orchestrator” of the different stage codes. During the workshop, the students direct various monologues, or arrange dual relationships on the stage. They learn the variety of directing practices according to different tendencies of stage-direction, as well as the different scenic times of a play according to its stage interpretation. Finally, they experiment in the special arrangement of large groups (e.g. tragic chorus).The workshop aims at familiarizing students with the main principles of acting. It studies the expressive means of actors/actresses, that is, body and voice, through practical exercises of relaxation, self-concentration, breathing and discovering the energy centres of the body. The students also learn: vocal exercises and how to discover the relationships between body and voice; improvisation; techniques of emotional stimulation and release; body contact, and transference from physical to “theatrical” body. On the exercises, the teacher applies methods from various acting systems explaining the objectives of each one.

Prerequisites None. Successful completion of this workshop is a prerequisite for enrollment in any workshop related to acting and stage directing in the 3rd, and 4th years of study.


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MANDATORY COURSES SEMINARS

Course/ Subject Title Seminar I (Ancient Theatre): Introduction to the Methodology of Research

Course code SEM 071Course type Mandatory [Prerequisite]Course level UndergraduateCourse Year ThirdSemester FifthECTS credit unitsLocal credit units

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Name of Instructor Eleni Karabela, LecturerSubject Learning Outcomes Objectives

At the end of the course, the student will be able to:1. Be acquainted with the types of scholarly essays.2. Recognize the distinctive characteristics of a scholarly essay.3. Be familiar with the problems encountered in writing a scholarly essay.4. Have the basic methodological elements required for the composition of

scholarly essays.5. Have adequate knowledge of sources.6. Be familiar with the means of locating bibliographical sources.7. Know the tools of bibliographical research.8. Have adequate knowledge of the bibliography pertaining to ancient

theatre.9. Be familiar with the correct use of additional scholarly tools (references,

footnotes, quotes).10.Know the ethical standards which cgovern the approach to sources and

the use of the bibliography. Skills At the end of the course, the student will have developed the following

skills: The ability to expand upon the issues of ancient theatre. To collect and evaluate the research material necessary for the

composition of a scholarly essay. To sort and classify the research material appropriately. To index the material collected via the research. To correctly use additional scholarly tools (references, footnotes, quotes). To apply the ethical standards which govern the approach to sources and

the use of the bibliography. To use the appropriate terminology. To adhere to the strict methodology of composition in scholarly essays. To be able to write one’s own scholarly research essay. Generally, to apply their theoretical knowledge to practice, in the process

of studying a play of ancient theatre.Course Content The meaning and the different kinds of scholarly research. Locating and

organizing the material. Using the tools of bibliographical research. Additional parts of an essay: references, footnotes, and quotations. Use of the sources and rules of scientific ethics. Arrangement of the material and composition of a scholarly essay. Application of theoretical knowledge to the composition of an essay analysing a work of ancient Greek drama.



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Course title Seminar II (Ancient Theatre)Course code SEM072Type of course MandatoryLevel of course UndergraduateYear of Study FourthSemester FifthECTS creditsLocal credits

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Name of instructor Professor Stavros TsitsiridisLearning outcomes At the end of the course the student should be able to:

1. Have an in-depth understanding of the specific topic of study on which the seminar focused.

2. Be aware of the research issues related to the specific topic. 3. Have assimilated the key methodological elements in the composition of a

scholarly essay. 4. Be familiar with the methods of accessing the sources. 5. Familiarise themselves with the proper scholarly usage of supplements

(references, footnotes, quotations). 6. Be acquainted with and apply the ethical standards which govern the

approach to sources and use of the respective bibliography.Competences At the end of the course the student will have further developed the

following skills/competences: The ability to probe into the problems involved in the study of a dramatic

text. To collect and evaluate the necessary materials for writing a scholarly

essay. To correctly classify research materials. To index the material collected via research. To use references, footnotes, and quotations appropriately. To apply the ethical standards which govern the approach to sources and

use of the respective bibliography. To use terminology correctly. To adhere to the strict methodology of scholarly research. To be able to write one’s own scholarly essay.

Course content The seminar aims at familiarising students with the scholarly methods of approaching and studying specific issues of ancient Greek theatre.

Prerequisites Successful completion of the SEM 071: Seminar I (Ancient Theatre): Introduction to the Methodology of Research


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Course title Seminar III (Modern Theatre with Emphasis on Drama)Course code SEM 073Type of course MandatoryLevel of course UndergraduateYear of Study ThirdSemester SixthECTS creditsLocal credits

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Names of instructors Professor Konstantinos Kyriakos - Assistant Professor – Assistant Professor Areti Vasiliou

Learning outcomes At the end of the course the student should be able to:1. Distinguish the research problems involved in the scholarly analysis of

a dramatic text.2. Undertake a public presentation and discussion of his/her research in

progress.3. Utilise the bibliography on modern drama.4. Apply at least one methodological approach to the study of dramatic

writing.5. Discern the structure of a play.6. Deal with issues of intertextuality. 7. Recognise the aesthetic influence of other art forms on drama, as well

as the impact of the social and historical context on dramatic writing.8. Identify: a) the components of the dramatic persona’s identity, b) the

factors that defined that identity, and c) the way in which this identity is perceived by others.

Competences At the end of the course the student will have further developed the following skills/competences: Write a short scholarly essay. Build a scholarly argument and produce probative discourse. Present the progress of their research project in public. Apply at least one methodological approach to the study of dramatic

writing. Evaluate the related bibliography and use it creatively. Identify the aesthetic, ideological and conceptual context of a play.

Course content The seminar focuses upon investigating issues related to dramatic writing and the history of Modern Greek, European and American Theatre. It also explores, while drawing from the relevant theories, issues concerning contemporary theatre, such as problems of identity (different forms of alterity, the post-modern decentred subject), the representation of dramatic space and time, and forms of dramatic discourse (intertextuality and the aesthetic influence of other art forms). At the same time the seminar looks into traditional drama and the forms of popular theatre.



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Title of course SEMINAR IV (Modern Theatre with Emphasis on Performance)Code number of course SEM 074Type of course MandatoryLevel of course UndergraduateYear of Study FourthSemester Eighth Name of Instructors Professor Dimitrios Tsatsoulis - Assistant Professor Aikaterini ArvanitiECTS creditsLocal credits

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Learning outcomes At the end of seminar students are expected to: 1. Recognise the different types of modern world theatre as far as their

stage realisations are concerned (traditional, ritual, intra- and cross-cultural, post-modern etc).

2. Know the different theories which focus on performance and the role of the director.

3. Be familiar with the dominant role of stage space, music, lighting, video art components in modern performance forms.

4. Know the forms of physical theatre (from visual and theatrical performances to devised theatre).

5. Know, via theoretical tools, the function of criticism and its role in the reception and perception of the event of the performance.

6. Be familiar with the tools of bibliographical research on the subject of stage performance.

7. Be familiar with the standard way of reading performance material, either live or videotaped.

8. Fully understand the existence of inter-performance elements and inter-artistic references.

9. Be familiar with the correct use of terminology, and the search for sources on performance and criticism.

10. Be familiar with the proper procedure in the composition of a scholarly research paper on theatre (bibliography, quotations, footnotes, references).

Skills/ Competences At the end of the seminar students will have developed the following skills: To comprehend modern forms of performance. To deal with modern theories and apply them to the analysis of

performances. To use theoretical tools to reach creative-artistic goals. To process videotaped material from performances, with an awareness

of the factors that govern the video recording process and its limits of reliability.

To index, electronically register and evaluate critical texts. To compile reliable references to criticism and to indexes of

performances. To engage in bibliographical and on the spot research resulting in a

scholarly paper on aspects of the performance, in which personal contacts and focused interviews with persons involved are included.

To compose a research paper as a structural entity in which scholarly methodology is applied, bibliographical sources and results of on the spot research are utilised, and rules of ethics are applied.

Course content Taking into consideration the complex nature of performance (a process characterised by immediacy, existence in the present, two-way communication etc.), the seminar investigates issues that, depending on the case, refer to the following issues: A) The notion of stage-director

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and its development in the 20th century. B) Older and contemporary forms of performance writing (performance and intercultural, postmodern, post-colonial, and feminist theatre) and performance theories. C) The actor: voice and body in theatre and the performing arts. D) Components of scenic place, music, and lighting: from plastic theatre to the introduction of technology on the stage. E) Theory of theatre studies and theatre criticism. Reception and reading of the performance. Criticism as a vehicle of ideology and aesthetics. F) The critique as source of performance material. Arrangement, filing and evaluation of research material. G) Historical issues of modern Greek and European theatre such as the repertory of certain companies in specific periods and specific tendencies in stage-direction (i.e. National Theatre, Art Theatre), etc (where relevant sources exist).



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ELECTIVE COURSES

Unless specified otherwise, elective courses are lectures, 3h/w

ATTENTION Courses offered during 2015-2016 are indicated with an asterisk *

First and Second Year of Studies - Lectures

ATH 111 Menandros and the New Comedy ATH 112 The Theatrical Genres of Mime and Pantomime*ATH 113 Introduction to the Archaeology of the Ancient Theatre (Autumn Semester,

Martin Kreeb Associate Professor) [Additional language of instruction: English– German]

ATH 114 Introduction to Roman Theatre*ATH 115 Roman Comedy I: Terentius (Autumn Semester- Aikaterini Kounaki -

Philippides, Lecturer)ATH 116 Approaches to Staging Ancient Drama in Modern Times: The Greek Stage *ATH 117 Architecture of Ancient Theatres (Spring Semester – Martin Kreeb,

Associate Professor) [Additional language of instruction: English – German]

*WTH 211 French 17th Century Theatre (Spring Semester, Ioanna Papageorgiou, Assistant Professor)

WTH 212 Comedy in Modern European Theatre WTH 213 Theatre of Asia and the Far East *WTH 214 American Theatre I (Autumn Semester, Athena Coronis, Assistant

Professor)WTH 216 Traditional Popular Theatre in Europe

MGTH 311 Modern Greek Theatre and the Enlightenment (~1750-1830) MGTH 312 The Heptanesian Theatre MGTH 313 Theatrical Genres with Music on the Greek Stage (operetta, “komeidyllio”,

dramatic “eidyllio” and revue)*MGTH 314 Greek Shadow Theatre (Autumn Semester, Ioanna Papageorgiou, Assistant

Professor)MGTH 315 Twentieth Century Greek ComedyΜGΤΗ 313 Problems and Methodology in the Historiography of Modern Greek Theatre

*THE 411 Comparative Theatre Writing (Spring Semester, Giorgos Sampatakakis, Assistant Professor)

THE 413 Anthropology of TheatreTHE 414 Reader-Response Theories and Reception THE 415 Topics in Poetics: Literary Genres, Modes and TheoriesTHE 416 Introduction to the Theory of Literature

GI 511 Modern Greek Literary Texts: ProseGI 513 Introduction to the Art of AntiquityGI 514 Trends in 20th Century Art GI 515 History of European Music *GI 517 Cognitive Analysis of Learning in Education ( Spring Semester – Styliani

Tsesmeli, Lecturer, Department of Primary Education)

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Title of course Cognitive Analysis of Learning in EducationCode number of course *GI 517Type of course Lecture (elective)Level of course UndergraduateYear of Study First - SecondSemester AutumnName of Instructors Styliani Tsesmeli, Lecturer (Department of Primary Education)ECTS creditsLocal credits

54

Objectives The purpose of this course is to give students the opportunity to acquire knowledge about all issues related to the process of learning and the acquisition of knowledge. More specifically the students will learn how we learn, how we perceive reality, how and what we remember, how, what, and why we forget, how we learn to talk, how and what we comprehend, how we can improve learning, how we read, how we think, how we solve problems, why (in some cases) learning is difficult and how learning difficulties and dyslexia could be addressed.

Course content The concepts of learning and knowledge. The process of learning and knowledge acquisition in the Greek educational system. The cognitive analysis of learning and knowledge acquisition as compared to behaviourism. Critical analysis of behaviourism. Learning as information processing. Neurophysiological foundations of learning. Perception and recognition of information. Memory: retention and recall of information. Working memory, short-term memory, long-term memory. Comprehension and memory. Representation of information in memory. Language as a means of communication and learning. Learning of oral and written language. Relation between oral and written language. Thinking. Relation between language and thought. Problem solving. Learning disabilities. The specific learning disability of Dyslexia. Conclusions, implications and applications of the cognitive analysis of learning to education

Prerequisites None Language of instruction Greek

* GI 518 Training in Education II: Developmental Psychology (Spring Semester - Kl. Diakogeorgi, Assistant Professor, Department of Primary Education)

GI 521 Modern Greek Literary Texts: Poetry I (to 1930)*GI 522 Movements in Modern European Literature (Autumn Semester- Athena

Coronis, Assistant Professor) [Additional language of instruction: English]

First and Second Year of Studies Elective Workshops

W 611 Introduction to Acting [5 hours per week]*W 612 Terms and Conditions of Performance I: Improvisation and Devising - 5h/w

(Autumn Semester - Ioanna Roilou, Special Subject Teacher). [Additional language of instruction: English]

*W 613 Terms and Conditions of Performance II: Improvisation and Devising - 5h/w (Spring Semester - I. Roilou Special Subject Teacher) [Additional language of instruction: English]

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*W 618 Dance in Education through Choreological Methods (Autumn Semester – Katia Savrami, Assistant Professor) [Additional language of instruction: English]

Third and Fourth Year of Studies - Lectures

ATH 151 Satyr-Drama* ATH 152 Post-Classical Tragedy (Spring Semester – Professor Theodoros

Stephanopoulos)ATH 153 Ancient Greek Metrics ATH 154 Roman Comedy II: Plautus

*ATH 155 Seneca’s Tragedies (Autumn Semester – Aikaterini Kounaki- Philippides, Lecturer)

ATH 156 Ancient Greek Art and Theatre *ATH 157 Approaches to Staging Ancient Drama in Modern Times: The Modern

Greek Stage (Autumn Semester – Aikaterini Arvaniti - Assistant Professor)ATH 158 Platonic Theory on Poetry and DramaATH 159 Vase Painting and Theatre

WTH 251 Special Subjects on Shakespearian TheatreWTH 252 The Theatre of Molière and its ReceptionWTH 254 Italian Classical TheatreWTH 255 Spanish Classical TheatreWTH 256 Russian – Soviet TheatreWTH 257 The Theatre of Brecht WTH 258 Modern European Theatre from 1960 to the Present WTH 259 Forms of Commercial Theatre and EntertainmentWTH 261 Ancient Myth and Tragedy in World Theatre WTH 262 Ancient Myth and Tragedy in OperaWTH 264 History of the Opera in the 20th Century*WTH 265 American Theatre II (Spring Semester - Athena Coronis, Assistant

Professor)WTH 266 Fine Arts and Theatre in the 20th Century*WTH 267 Contemporary Western Dance Theatre (Spring Semester - Katia Savrami,

Assistant Professor)WTH 268 Ancient Myth and Tragedy in Dance and Dance Theatre WTH 269 History of European Opera in the 19th Century*WTH 270 The Theatre of Samuel Beckett (Spring Semester, Angeliki Rosi, Assistant

Professor)

MGTH 351 Karolos Koun and Modern Greek DramaMGTH 352 The Theatre of Iakovos KambanellisMGTH 354 The Dramatic Monologues of Yannis Ritsos *MGTH 355 Sociological Approaches to Modern Greek Theatre (Spring Semester,

Dimitrios Tsatsoulis, Professor) [Additional language of instruction: French]*MGTH 356 Modern Greek Theatre Writing and Cinema (Autumn Semester,

Konstantinos Kyriakos, Associate Professor)MGTH 357 Stage-Directing in Greece: Theory and Stage PracticeMGTH 358 Trends in Stage Design on the Contemporary Greek Stage

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MGTH 359 The Art of Acting in Modern Greece MGTH 360 The Role of Avant-Garde Movements in Modern Greek Stage and Dramatic

Production of the Inter-War MGTH 362 Spiros Melas and His Contribution to the Development of Modern Greek

TheatreMGTH 363 Cavafy and TheatreMGTH 364 Parallel Drama-Writing Routes: Theotokas – Kazantzakis - Sikelianos

THE 451 Contemporary Theories of Theatre and Drama THE 452 Semiotic and Intertextual Analysis of DramaTHE 453 History and Theory of the Formation of Theatrical Space *THE 454 Identity Theories: Feminist and Minority Theatre (Autumn Semester,

Angeliki Rozi, Assistant Professor)THE 455 Theory of Narrative- (Narratology)THE 456 Theatre and Photography

GI 552 Topics in the Methodology of Archival Research in Modern Greek LiteratureGI 555 Film Analysis: National Schools and Cinematographic Trends in Post-War

EuropeGI 556 Ancient Myth in World Cinema GI 557 Modern Greek Art GI 558 Contemporary Theories of Art GI 559 Ancient Greek MusicGI 560 Incidental Music to Performances by Greek ComposersGI 561 History of 20th-Century MusicGI 563 Theatre and Communication: the Reception of the Theatrical Event in the

Printed and Electronic PressGI 564 Theatre and Cultural PoliticsGI 565 Artistic and Commercial Management of Theatre Companies – Theatre

MarketingGI 568 European Cinema: New Realism, Nouvelle Vague, Free CinemaGI 569 Russian, Chinese and Japanese Cinema*GI 570 Cinema and Society: Interaction and Influences in the Aesthetics and

Thematic of Films (Autumn Semester – Assistant Professor Chrysanthe Sotiropoulou) [Additional language of instruction: English]

GI 571 History and CinemaGI 572 Post-War Art GI 574 Modern Greek Literary Texts: Poetry II (after 1930) GI 575 Theatre as a Theme in Modern PoetryGI 576 Post-War Modern Greek Cinema: Thematic Tendencies and Aesthetic Trends GI 577 Cinema and LiteratureGI 578 Lighting in Theatre*GI 580 Theatre Teaching I: Introduction to Theatre Education (Theory and

Practice) (Autumn Semester, Dr. Klio Fanouraki, Teaching staff in contract)

Third and Fourth Year of Studies Elective Workshops

*W 651 Creative Movement and Composition in Theatre Education (Spring Semester - Katia Savrami, Assistant Professor)

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*W 652 Theatre Teaching: ΙI: Theatre and Drama in Primary Education (Spring Semester, Teaching Staff in Contract)

*W 653 Theatre Teaching: ΙII: Theatre and Drama in Secondary EducationW 657 Workshop on Dramatic Writing I W 658 Workshop on Dramatic Writing II *W 659 Workshop on Stage Design W 660 Applications of Computers in Theatre Research and Practice (Attention: ECTS

for this workshop: O)W 661 Introduction to Choreography*W 662 Special Workshop on Acting I (5h/w) (Autumn Semester – Vasiliki

Sakellari, Special Subject Teacher)*W 663 Special Workshop on Acting II (5h/w) (Spring Semester – Vasiliki

Sakellari, Special Subject Teacher) Additional language of instruction: English]

*W 665 Acting II (Autmn Semester, Despina Georgakopoulou, Special Subject Teacher

*W 667 Acting in the Context of Theatre in Education (5h/w) (Autumn Semester – Vasiliki Sakellari, Special Subject Teacher)

*W 668 Terms and Conditions of Performance III: Stage Adaptation of non-theatrical texts (5h/w) (Spring Semester - - I. Roilou, Special Subject Teacher) [Additional language of instruction: English]

*W 614 Acting I (5h/w) (Autumn Semester – Vasiliki Sakellari, Special Subject Teacher)

W 670 Students Practice

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PREREQUISITES

ATH 011 “Introduction to Ancient Greek Theatre”: successful completion of this course is a prerequisite for enrollment in any course of Ancient Theatre (ATH) in the 2nd, 3rd, and 4th years of study.

THE 041 “Introduction to Theatre Studies (Modern Theatre)”: successful completion of this course is a prerequisite for enrollment in any course of World Theatre (WTH), Modern Greek Theatre (MGTH), and Theory of Theatre (TH) in the 2nd, 3rd, and 4th years of study.

GI 053 “Introduction to History and Theory of Cinema”: successful completion of this course is a prerequisite for enrollment in any course related to the Cinema in the 2nd, 3rd, and 4th years of study.

GI O54 “Introduction to Fine Arts”: successful completion of this course is a prerequisite for enrollment in any course related to the History of Arts of in the 2nd, 3rd, and 4th years of study.

GI 580 Theatre Teaching I: Introduction to Theatre Education (Theory and Practice) successful completion of this course is a prerequisite for enrollment in any course in Theatre Teaching in the 3rd, and 4th years of study

SEM 071 “Seminar I (Ancient Theatre): Introduction to the Methodology of Research”: successful completion of this seminar is a prerequisite for enrollment in any other seminar.

W 063 “Introduction to Acting and Stage-Directing”: successful completion of this workshop is a prerequisite for enrollment in any workshop related to acting and stage directing in the 3rd, and 4th years of study.

W 618 “Dance in Education through Choreological Methods”: successful completion of this workshop is a prerequisite for enrollment in the workshop W 651 “Creative Movement and Composition in Theatre Education

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