The 'Archivio' Large Scale Research Project (2012-2014) (original) (raw)
Related papers
N. Masturzo, New Studies of the Theatre at Iasos (F. Berti, M. Vittori)
The Architecture of the Ancient Greek Theatre, Edited by Rune Frederiksen, Elizabeth R. Gebhard and Alexander Sokolicek. Monographs of the Danish Institute at Athens, Volume 17 Acts of an International Conference at the Danish Institute at Athens 27-30 January 2012, 2015
The ruins of the theatre at Iasos have always been one of the major points of interest for the travellers who visited this ancient Greek city, such as Wheler, Chandler, Choiseul-Gouffier, Laborde, Texier and Le Bas. At the time it was thought to have been built by a certain Zopatros, a name that is now known to have been Sopatros. Archaeological excavations were conducted in the two summer campaigns of 1960 and 1961 by an Italian team directed by D. Levi and published in two preliminary reports, by Levi himself and afterwards by W. Johannowsky, who correctly assigned the rebuilding of the northern analemma to the second quarter of the 2nd century BC, based on G. Pugliese Carratelli’s chronology for the stephanephoria of Sopatros (be- tween 179 and 147 BC). The monument, however, is still not yet fully published. In 2010 the authors began a new survey of the theatre and a re-examination of the previous archaeological data. The first phase of the theatre consists of the cavea itself, which was probably built in the 3rd century BC. The existence of statues of Homonoia and Dikaiosyne from the 2nd century BC, attests to an organic programme of ideological exaltation of civic virtues. The layout of the theatre found by the authors, with its semi-elliptical cavea, is significantly different from that in the drawings previously published, where the cavea was presented as exactly semicircular. The overall theatre design seems to be based on the cubit, and its maximum width would be 125 cubits. The later layout of the skene and of the orchestra however, was probably based on the local foot. Of great importance for our understanding of the techniques and influences active in the region during the 2nd century BC is the unusual bossed ashlar masonry style that is used in the northern analemma.
2009
What is a theatre laboratory? Why a theatre laboratory? This book attempts to answer these questions, focusing on the experiences and theories, the visions and the techniques, the differences and similarities of European theatre laboratories in the twentieth century. It studies in depth the Studios of Stanislavski and Meyerhold, the school of Decroux, the Teatr Laboratorium of Jerzy Grotowski and Ludwik Flaszen, as well as Eugenio Barba’s Odin Teatret. Theatre laboratories embody a theatre practice that defies the demands and fashions of the times, the usual ways of production and the sensible functions that stage art enjoys in our society. It is theatre that refuses to be only art and whose radical research forges new conditions with a view to changing both the actor and the spectator. This research transforms theatrical craft into a laboratory that has been compared to the laboratories of the alchemists, who worked not on material but on substance. The alchemists of the stage did not only operate on forms and styles, but mainly on the living substance of the theatre: the actor, seen not just as an artist but above all as a representative of a new human being. Laboratory theatres have rarely been at the centre of the news. Yet their underground activity has influenced theatre history. Without them, our very ideas of theatre, as shaped throughout the course of the twentieth century, would have been quite different. In this book Mirella Schino recounts, as in a novel, the vicissitudes of a group of practitioners and scholars who try to uncover the technical, political and spiritual perspectives behind the word ‘laboratory’ when applied to the theatre.