Demetris Zavros - Academia.edu (original) (raw)
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Papers by Demetris Zavros
Theatre, Dance and Performance Training, 2019
Anticipating action while seeing the world as it is. A lament of this world. Possession. When she... more Anticipating action while seeing the world as it is. A lament of this world. Possession. When she says ‘brother’, she says it as if she means ‘humanity’. Personal experience connected to Electra, but also to the condition of the world. Electra half-naked. Her intimacy is shown. Open. Each entrance should be master-ship, weaving-in. Speak very slowly, appearing as if kissing the audience. Always face to the audience. Never look away. (Włodzimierz Staniewski in McLean 2002)
Studies in Musical Theatre, 2021
Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an ... more Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an example of a ‘minor’ practice in musical theatre, which engages with a tracing and play with ‘territories’ as well as several acts of deterritorialization and reterritorialization. These processes are examined both at the level of content (and the thematic considerations of ‘inclusion’ and ‘exclusion’ in the building of a community) and form. The performance introduces new relationships and functions between the components/means at the musical’s disposal and invites a different type of audience engagement (or ‘encounter’) by destabilizing fixed forms and categories like song/speech, lyric/book, diegetic/non-diegetic, audience/actors, auditorium/stage and ultimately reality/representation. This case study exemplifies how the hybrid form of the ‘verbatim musical’ has the potential to mutually deterritorialize both of the genres it brings in dialogue and allows for a new type of engagement ...
Studies in Musical Theatre, 2008
ABSTRACT
![Research paper thumbnail of Jan Fabre’s Prometheus Landscape II: [De]territorialisation of the tragic and transgressive acts of arson](https://attachments.academia-assets.com/80664849/thumbnails/1.jpg)
](A voice-over explains all the Health and Safety procedures in place at the theatre venue. Lights ... more A voice-over explains all the Health and Safety procedures in place at the theatre venue. Lights off: two performers on either part of a rather corpulent alter-Prometheus [Bound] light their cigarettes with a match; the first little act of arson.
This thesis examines the notion of 'music-theatre as music' in its relation to myth. It i... more This thesis examines the notion of 'music-theatre as music' in its relation to myth. It is provided as an indispensable tool of critical commentary for the accompanying performances (that are included in the submission in DVD documentation) and as an in-depth analysis of the issues that relate to the concepts at hand. In the context of this project, the term 'music-theatre as music' is understood as a music-theatre that derives musical strategies of organisation in the composition of 'all theatrical means' (Lehmann 2006: 91) from music-centric conceptual models. Initially based on the connection that Levi-Strauss draws between myth and music, the research explores alternative ways that the affinity between the two domains can be used in the creation of 'music-theatre as music' performances. In the first performance Clastocysm (2007), the project examines practically the idea of structuring and performing mythical fragments based on the notion of the &...
Theatre, Dance and Performance Training, 2019
Anticipating action while seeing the world as it is. A lament of this world. Possession. When she... more Anticipating action while seeing the world as it is. A lament of this world. Possession. When she says ‘brother’, she says it as if she means ‘humanity’. Personal experience connected to Electra, but also to the condition of the world. Electra half-naked. Her intimacy is shown. Open. Each entrance should be master-ship, weaving-in. Speak very slowly, appearing as if kissing the audience. Always face to the audience. Never look away. (Włodzimierz Staniewski in McLean 2002)
Studies in Musical Theatre, 2021
Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an ... more Using Deleuze and Guattari’s notion of the ‘refrain’, the article investigates London Road as an example of a ‘minor’ practice in musical theatre, which engages with a tracing and play with ‘territories’ as well as several acts of deterritorialization and reterritorialization. These processes are examined both at the level of content (and the thematic considerations of ‘inclusion’ and ‘exclusion’ in the building of a community) and form. The performance introduces new relationships and functions between the components/means at the musical’s disposal and invites a different type of audience engagement (or ‘encounter’) by destabilizing fixed forms and categories like song/speech, lyric/book, diegetic/non-diegetic, audience/actors, auditorium/stage and ultimately reality/representation. This case study exemplifies how the hybrid form of the ‘verbatim musical’ has the potential to mutually deterritorialize both of the genres it brings in dialogue and allows for a new type of engagement ...
Studies in Musical Theatre, 2008
ABSTRACT
A voice-over explains all the Health and Safety procedures in place at the theatre venue. Lights ... more A voice-over explains all the Health and Safety procedures in place at the theatre venue. Lights off: two performers on either part of a rather corpulent alter-Prometheus [Bound] light their cigarettes with a match; the first little act of arson.
This thesis examines the notion of 'music-theatre as music' in its relation to myth. It i... more This thesis examines the notion of 'music-theatre as music' in its relation to myth. It is provided as an indispensable tool of critical commentary for the accompanying performances (that are included in the submission in DVD documentation) and as an in-depth analysis of the issues that relate to the concepts at hand. In the context of this project, the term 'music-theatre as music' is understood as a music-theatre that derives musical strategies of organisation in the composition of 'all theatrical means' (Lehmann 2006: 91) from music-centric conceptual models. Initially based on the connection that Levi-Strauss draws between myth and music, the research explores alternative ways that the affinity between the two domains can be used in the creation of 'music-theatre as music' performances. In the first performance Clastocysm (2007), the project examines practically the idea of structuring and performing mythical fragments based on the notion of the &...