Natassa Siouzouli | University of the Peloponnese (original) (raw)
Books by Natassa Siouzouli
While the verb prattein is focused on a goal and the accomplishment of an action, and while poiei... more While the verb prattein is focused on a goal and the accomplishment of an action, and while poiein has to do with the work on an object, with producing and making, Aeschylus' use of ti draso and dran-in the sense of "to commit something," "wanting to do something"-opens up a dimension in which the activity of the act is itself in play. […] Bruno Snell has insisted that dran in Aeschylus' Oresteia is always related "to the overcoming of tarry ing and indecisiveness" and that it marks the beginnings and the decisions to act. […] [I]t undoubtedly connotes that vestibule of acting in which the decision and the inception of an action are themselves put into question. […] Orestes' tarrying may contain a madness of decision, an eccentric moment in which not only the deed but also the world in which it is to be realized are suspended. Tarrying touches on the joints and sutures that keep this world together, or not: it is a crisis in the conception of the world and its order, a crisis of the system of judgement.1
Diese Arbeit wäre ohne die wertvolle Hilfe sehr geschätzter Leute unmöglich. Ich möchte demgemäß ... more Diese Arbeit wäre ohne die wertvolle Hilfe sehr geschätzter Leute unmöglich. Ich möchte demgemäß hier vom Herzen Rafael Ugarte Chacón, Matthias Dreyer, Sabine Ganz, Dimitris Grigoropoulos, Antigone und Vassilis Siouzoulis, Dr. Wiebke-Marie Stock, Dr. des. Viktoria Tkaczyk danken. Die Durchführung der Arbeit wurde erst durch die vielseitige Unterstützung des DAAD und der DFG möglich. Ich möchte mich zum Schluss ausdrücklich bei Prof. Dr. Dr. h.c. Erika Fischer-Lichte bedanken, der ich viel mehr schuldig bin, als nur annähernd zu sagen möglich ist.
Edited Books by Natassa Siouzouli
Περιοδική έκδοση του Κέντρου Έρευνας για τις Παραστατικές Τέχνες, 2013
Papers by Natassa Siouzouli
MASKA JOURNAL Police, Vol. XXXVII, issue 207-208, 2022
The title of this paper combines two rather oppositional terms. On the one hand, ethics as a sort... more The title of this paper combines two rather oppositional terms. On the one hand, ethics as a sort of positive agency of doing the right thing, and on the other, division as a negative force that refuses reconciliation and compromise and suggests antagonism and enmity. I do not intend to reconcile the two terms here, but, rather, think about them together as a sheer antinomy. Antinomy means in this context an unreconcilable, persisting ambivalence or ambiguity, that does not tolerate sublation but has to insist as an antinomy. Instead of trying to bring ethics and division closer together, I will expand the space between them, in order to make the antinomy explicit. By expanding the space of ambivalence, I will proceed to articulate my thoughts not as affirmations and answers, but rather as exposing the impossibilities and aporias when trying to tell such a story, as I will attempt to do here. What is this story all about? I will revisit the re-activation of Embros Theatre ten years later and look at what remains as its legacy. Alongside this initial attempt, I will also shortly refer to some other forms of extra-institutional artistic intervention that took place in Athens around the same time. What I will attempt to do, is to identify some aesthetic patterns that were initiated and developed around the event of Embros and which, in my understanding, might be the right tools to face and to respond to a landscape of catastrophe -as Athens and/ or Greece presented themselves at the time. An aesthetic response to catastrophe is always an ethical and a political one. Aesthetics and art cannot be conceived otherwise than as fundamentally rooted within society and as having an explicit ethico-political impact. Every other conception of aesthetics is not only counter-productive, but also obsolete, not to say dangerous. What aesthetics and art do, is to enable a perception that is essentially different from what we are used to. 1 Every shift, every transformation and/ or subversion of perception is de facto an ethico-political matter. Thus, it is a secondary matter to insist on understanding what is presented; it is more important to ask how that what is presented affects one's perception.
Hidden Children: A Short Study on Theatrical Absence, p. 49ff
Zukunft der Aufführung, 2023
The accuracy of the Content should not be relied upon and should be independently verified with p... more The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden.
Τι μαθαίνει κανείς στη στασιμότητα; Αυτό που βλέπει γύρω από το σημείο στο οποίο στέκεται; Αυτό π... more Τι μαθαίνει κανείς στη στασιμότητα; Αυτό που βλέπει γύρω από το σημείο στο οποίο στέκεται; Αυτό που ήδη γνωρίζει; Μπορεί να το πει κανείς αν δεν κουνιέται σπιθαμή; Αν δεν υπάρχει διέξοδος στη στασιμότητα, το πολύ που μπορείς να μάθεις είναι η λήθη […] Μήπως είναι η στασιμότητα μια επιστροφή στο σπίτι; Φτάσαμε ή μήπως μπορούμε ακόμη να ελπίζουμε ότι θα φύγουμε; (Γέλινεκ) 2-Ο Μπέκετ γράφει μετά την καταστροφή. Τίποτα δεν έχει μείνει όρθιο, ούτε χώρα, ούτε πολιτεία. Ούτε σπίτι, ούτε δρόμος. Ούτε υποκείμενο, ούτε βούληση. Ούτε ιστορία, ούτε κείμενο. Ούτε γλώσσα, ούτε σώμα. Μόνο σπαράγματα, θραύσματα, ξέφτια ενός αταξινόμητου Όλου. (Γέλινεκ) Μόνο τα ερείπια 'ενός άλλου, τακτοποιημένου κόσμου' που προσπαθούν να συναρμολογήσουν (μάταια) τα 'πρόσωπα' που απόμειναν.
Μερικές σκέψεις εκ των προτέρων για την παράσταση Ο Κολοκοτρώνης ατενίζει το μέλλον. Γυναίκες προ... more Μερικές σκέψεις εκ των προτέρων για την παράσταση Ο Κολοκοτρώνης ατενίζει το μέλλον. Γυναίκες προετοιμάζονται για την επανάσταση. Κι εγώ κάτι θα σκέφτομαι 1 Νατάσα Σιουζουλή Μάγεμα η φύσις κι όνειρο στην ομορφιά και χάρη, Η μαύρη πέτρα ολόχρυση και το ξερό χορτάρι. Με χίλιες βρύσες χύνεται, με χίλιες γλώσσες κραίνει. Όποιος πεθάνει σήμερα χίλιες φορές πεθαίνει. Τρεμ' η ψυχή και ξαστοχά γλυκά τον εαυτό της.
The present study addresses the metamorphoses of the subject upon entering an aesthetic situation... more The present study addresses the metamorphoses of the subject upon entering an aesthetic situation, taking as an example the play Wolokolamsker Chaussee I by Heiner Müller (1984). It is suggested that a subject participating in an aesthetic experience undergoes a transformation which concerns first and foremost her ethico-political self; in such a volatile state, the self moves towards its own demise. This occurs when the subject exits the aesthetic space and/or the performance, having accepted both the loss of her sovereignty and the inability to regain her control and power.
https://act2mag.com/el/5330-2/, 2022
2 "The central argument here is that theatre's fakeness evolves out of the intrinsic ontological ... more 2 "The central argument here is that theatre's fakeness evolves out of the intrinsic ontological connection between lying and acting, that is performing." (Schulze, 7, δική μου μετάφραση). 3 "Where the live performance of a memorized text that had never been fixed in writing always had a strong sense of authenticity, with the written text there appears an idea of fakeness. When an actor reads out something that is not his own, the performance can easily be perceived as fake or inauthentic." (Schulze, 59, δική μου μετάφραση).
Die Ausgabe von Germanoslavica diskutiert verschiedene Aspekte von Theatralität, ohne sich dabei ... more Die Ausgabe von Germanoslavica diskutiert verschiedene Aspekte von Theatralität, ohne sich dabei auf eine enge Definition des Begriffs zu beschränken. Indem die Autor_innen aus unterschiedlichen Disziplinen kommen, präsentieren sie ein breites Spektrum an Forschungsgegenständen und beleuchten entsprechend die vielen Facetten des Terminus. Was sich hervorragend zeigt, ist die Art und Weise der jeweiligen – historischen, gattungsspezifischen etc. – Kontextualisierung des Begriffs, der in diesem Sinne zu einem vielschichtigen Analyseinstrument avanciert.
The focus of this article lies on the recent history of the Hellenic Festival, discussing the so-... more The focus of this article lies on the recent history of the Hellenic Festival, discussing the so-called new phase after 2006, when Giorgos Loukos took over as artistic director. While the Festival claimed an international profile promoting collaborations with major European festivals and theatre companies, its policies had to go through restructuring due to the raging economic crisis. The years from 2010 to the present marked a rupture with previous discourses and politics, turning the Festival into a topos of transformation and fluidity which seems to elude certain conditions of production and reception pertaining to its past history. The article presents an inquiry into the official policies as much as the artistic practices which constitute this topos, while also mapping out the emergent trends which produce its particular dynamic.
Reise mit Dionysos. Das Theater von Theodoros Terzopoulos, edited by F.M. Raddatz, 2006
Ευαγγελικά 1901 - Ορεστειακά 1903: Νεωτερικές πιέσεις και κοινωνικές αντιστάσεις, επιμ. Ο. Καϊάφα, 2005
Επίδαυρος – Το Αρχαίο Θέατρο, οι Παραστάσεις, επιμ. Κ. Γεωργουσόπουλος, 2004
Jahrbuch GTF – Tanz und WahnSinn / Dance and ChoreoMania, edited by U. J. Fenger & J. Birringer, 2011
While the verb prattein is focused on a goal and the accomplishment of an action, and while poiei... more While the verb prattein is focused on a goal and the accomplishment of an action, and while poiein has to do with the work on an object, with producing and making, Aeschylus' use of ti draso and dran-in the sense of "to commit something," "wanting to do something"-opens up a dimension in which the activity of the act is itself in play. […] Bruno Snell has insisted that dran in Aeschylus' Oresteia is always related "to the overcoming of tarry ing and indecisiveness" and that it marks the beginnings and the decisions to act. […] [I]t undoubtedly connotes that vestibule of acting in which the decision and the inception of an action are themselves put into question. […] Orestes' tarrying may contain a madness of decision, an eccentric moment in which not only the deed but also the world in which it is to be realized are suspended. Tarrying touches on the joints and sutures that keep this world together, or not: it is a crisis in the conception of the world and its order, a crisis of the system of judgement.1
Diese Arbeit wäre ohne die wertvolle Hilfe sehr geschätzter Leute unmöglich. Ich möchte demgemäß ... more Diese Arbeit wäre ohne die wertvolle Hilfe sehr geschätzter Leute unmöglich. Ich möchte demgemäß hier vom Herzen Rafael Ugarte Chacón, Matthias Dreyer, Sabine Ganz, Dimitris Grigoropoulos, Antigone und Vassilis Siouzoulis, Dr. Wiebke-Marie Stock, Dr. des. Viktoria Tkaczyk danken. Die Durchführung der Arbeit wurde erst durch die vielseitige Unterstützung des DAAD und der DFG möglich. Ich möchte mich zum Schluss ausdrücklich bei Prof. Dr. Dr. h.c. Erika Fischer-Lichte bedanken, der ich viel mehr schuldig bin, als nur annähernd zu sagen möglich ist.
Περιοδική έκδοση του Κέντρου Έρευνας για τις Παραστατικές Τέχνες, 2013
MASKA JOURNAL Police, Vol. XXXVII, issue 207-208, 2022
The title of this paper combines two rather oppositional terms. On the one hand, ethics as a sort... more The title of this paper combines two rather oppositional terms. On the one hand, ethics as a sort of positive agency of doing the right thing, and on the other, division as a negative force that refuses reconciliation and compromise and suggests antagonism and enmity. I do not intend to reconcile the two terms here, but, rather, think about them together as a sheer antinomy. Antinomy means in this context an unreconcilable, persisting ambivalence or ambiguity, that does not tolerate sublation but has to insist as an antinomy. Instead of trying to bring ethics and division closer together, I will expand the space between them, in order to make the antinomy explicit. By expanding the space of ambivalence, I will proceed to articulate my thoughts not as affirmations and answers, but rather as exposing the impossibilities and aporias when trying to tell such a story, as I will attempt to do here. What is this story all about? I will revisit the re-activation of Embros Theatre ten years later and look at what remains as its legacy. Alongside this initial attempt, I will also shortly refer to some other forms of extra-institutional artistic intervention that took place in Athens around the same time. What I will attempt to do, is to identify some aesthetic patterns that were initiated and developed around the event of Embros and which, in my understanding, might be the right tools to face and to respond to a landscape of catastrophe -as Athens and/ or Greece presented themselves at the time. An aesthetic response to catastrophe is always an ethical and a political one. Aesthetics and art cannot be conceived otherwise than as fundamentally rooted within society and as having an explicit ethico-political impact. Every other conception of aesthetics is not only counter-productive, but also obsolete, not to say dangerous. What aesthetics and art do, is to enable a perception that is essentially different from what we are used to. 1 Every shift, every transformation and/ or subversion of perception is de facto an ethico-political matter. Thus, it is a secondary matter to insist on understanding what is presented; it is more important to ask how that what is presented affects one's perception.
Hidden Children: A Short Study on Theatrical Absence, p. 49ff
Zukunft der Aufführung, 2023
The accuracy of the Content should not be relied upon and should be independently verified with p... more The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden.
Τι μαθαίνει κανείς στη στασιμότητα; Αυτό που βλέπει γύρω από το σημείο στο οποίο στέκεται; Αυτό π... more Τι μαθαίνει κανείς στη στασιμότητα; Αυτό που βλέπει γύρω από το σημείο στο οποίο στέκεται; Αυτό που ήδη γνωρίζει; Μπορεί να το πει κανείς αν δεν κουνιέται σπιθαμή; Αν δεν υπάρχει διέξοδος στη στασιμότητα, το πολύ που μπορείς να μάθεις είναι η λήθη […] Μήπως είναι η στασιμότητα μια επιστροφή στο σπίτι; Φτάσαμε ή μήπως μπορούμε ακόμη να ελπίζουμε ότι θα φύγουμε; (Γέλινεκ) 2-Ο Μπέκετ γράφει μετά την καταστροφή. Τίποτα δεν έχει μείνει όρθιο, ούτε χώρα, ούτε πολιτεία. Ούτε σπίτι, ούτε δρόμος. Ούτε υποκείμενο, ούτε βούληση. Ούτε ιστορία, ούτε κείμενο. Ούτε γλώσσα, ούτε σώμα. Μόνο σπαράγματα, θραύσματα, ξέφτια ενός αταξινόμητου Όλου. (Γέλινεκ) Μόνο τα ερείπια 'ενός άλλου, τακτοποιημένου κόσμου' που προσπαθούν να συναρμολογήσουν (μάταια) τα 'πρόσωπα' που απόμειναν.
Μερικές σκέψεις εκ των προτέρων για την παράσταση Ο Κολοκοτρώνης ατενίζει το μέλλον. Γυναίκες προ... more Μερικές σκέψεις εκ των προτέρων για την παράσταση Ο Κολοκοτρώνης ατενίζει το μέλλον. Γυναίκες προετοιμάζονται για την επανάσταση. Κι εγώ κάτι θα σκέφτομαι 1 Νατάσα Σιουζουλή Μάγεμα η φύσις κι όνειρο στην ομορφιά και χάρη, Η μαύρη πέτρα ολόχρυση και το ξερό χορτάρι. Με χίλιες βρύσες χύνεται, με χίλιες γλώσσες κραίνει. Όποιος πεθάνει σήμερα χίλιες φορές πεθαίνει. Τρεμ' η ψυχή και ξαστοχά γλυκά τον εαυτό της.
The present study addresses the metamorphoses of the subject upon entering an aesthetic situation... more The present study addresses the metamorphoses of the subject upon entering an aesthetic situation, taking as an example the play Wolokolamsker Chaussee I by Heiner Müller (1984). It is suggested that a subject participating in an aesthetic experience undergoes a transformation which concerns first and foremost her ethico-political self; in such a volatile state, the self moves towards its own demise. This occurs when the subject exits the aesthetic space and/or the performance, having accepted both the loss of her sovereignty and the inability to regain her control and power.
https://act2mag.com/el/5330-2/, 2022
2 "The central argument here is that theatre's fakeness evolves out of the intrinsic ontological ... more 2 "The central argument here is that theatre's fakeness evolves out of the intrinsic ontological connection between lying and acting, that is performing." (Schulze, 7, δική μου μετάφραση). 3 "Where the live performance of a memorized text that had never been fixed in writing always had a strong sense of authenticity, with the written text there appears an idea of fakeness. When an actor reads out something that is not his own, the performance can easily be perceived as fake or inauthentic." (Schulze, 59, δική μου μετάφραση).
Die Ausgabe von Germanoslavica diskutiert verschiedene Aspekte von Theatralität, ohne sich dabei ... more Die Ausgabe von Germanoslavica diskutiert verschiedene Aspekte von Theatralität, ohne sich dabei auf eine enge Definition des Begriffs zu beschränken. Indem die Autor_innen aus unterschiedlichen Disziplinen kommen, präsentieren sie ein breites Spektrum an Forschungsgegenständen und beleuchten entsprechend die vielen Facetten des Terminus. Was sich hervorragend zeigt, ist die Art und Weise der jeweiligen – historischen, gattungsspezifischen etc. – Kontextualisierung des Begriffs, der in diesem Sinne zu einem vielschichtigen Analyseinstrument avanciert.
The focus of this article lies on the recent history of the Hellenic Festival, discussing the so-... more The focus of this article lies on the recent history of the Hellenic Festival, discussing the so-called new phase after 2006, when Giorgos Loukos took over as artistic director. While the Festival claimed an international profile promoting collaborations with major European festivals and theatre companies, its policies had to go through restructuring due to the raging economic crisis. The years from 2010 to the present marked a rupture with previous discourses and politics, turning the Festival into a topos of transformation and fluidity which seems to elude certain conditions of production and reception pertaining to its past history. The article presents an inquiry into the official policies as much as the artistic practices which constitute this topos, while also mapping out the emergent trends which produce its particular dynamic.
Reise mit Dionysos. Das Theater von Theodoros Terzopoulos, edited by F.M. Raddatz, 2006
Ευαγγελικά 1901 - Ορεστειακά 1903: Νεωτερικές πιέσεις και κοινωνικές αντιστάσεις, επιμ. Ο. Καϊάφα, 2005
Επίδαυρος – Το Αρχαίο Θέατρο, οι Παραστάσεις, επιμ. Κ. Γεωργουσόπουλος, 2004
Jahrbuch GTF – Tanz und WahnSinn / Dance and ChoreoMania, edited by U. J. Fenger & J. Birringer, 2011
The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, edited by E. Fischer-Lichte, 2014
The Audience as Player: Interactive Theatre over the Years, edited by S. R. Homan J.R. (Comparative Drama, Special Issue no. 48), 2014
Theorie und Theater – Zum Verhältnis von wissenschaftlichem Diskurs und theatraler Praxis, edited by M. Vollhardt et al., 2014
The Geographies of Contemporary Greek Theatre: About Utopias, Dystopias and Heterotopias, edited by S. Patsalidis and A. Stavrakopoulou, 2014
Scènes en transition – Balkans et Grèce, edited by K. Arfara, 2016
Textures: Online Platform for Interweaving Performance Cultures, 2011
In 2006 the famous Greek theatre director and founder of the Attis-Theatre (Athens) Theodoros Ter... more In 2006 the famous Greek theatre director and founder of the Attis-Theatre (Athens) Theodoros Terzopoulos presented a short performance entitledJenin (based on the poem of the same name by Etel Adnan). Terzopoulos staged the performance as a parcours that began in an Arabic coffee shop near his theatre and encompased the entire theatre space, including the foyer, the space beneath the seats, the stage itself, the rear exit, etc. The performance could best be described as a kind of silent dealing with theother that remains unincorporated. Drawing upon this experience, we talked about alterity, encounters and the power of the others.
The Aesthetics of Applied Theatre, Project Blog, 2013
The Aesthetics of Applied Theatre, Project Blog, 2014
The Aesthetics of Appplied Theatre, Project Blog, 2015
The Aesthetics of Applied Theatre, Project Blog, 2015
by Eleni Papalexiou, Basilis Gatos, Avra Xepapadakou, Christina Zoniou, Anna Mavroleon, Natassa Siouzouli, Iro Alexandra Valsamaki, Anna Chronopoulou, Myrto Pigkou-Repousi, Zoe Ververopoulou, Panagiotis Michalopoulos, Sofia Pantouvaki, and Maria Sehopoulou
The research project titled Thymele, funded by the Hellenic Foundation for Research and Innovatio... more The research project titled Thymele, funded by the Hellenic Foundation for Research and Innovation [ELIDEK] under "Basic Research Financing (Horizontal support for all Sciences), National Recovery and Resilience Plan (Greece 2.0)” aims to create a fundamental infrastructure tool—an innovative multimedia Dictionary—that will contribute to the establishment of a commonly accepted conceptual and interpretative framework for the Performing Arts and the terms and concepts found in this field.