Theater Studies

Da C. Vicentini, La teoria del teatro politico (Firenze, Sansoni, pp. 83-124)

Sommario: 1 La formula del teatro politico. 2 Teatro e trasformazione storica. 3 Epoca storica e modello teatrale. 4 Unicità e molteplicità del modello. 5 Connotazioni delle tecniche teatrali. 6 Liquidazione e ricupero dell'estetica.  7 Carattere politico del teatro. 8 Connotazioni politiche delle tecniche teatrali. 9 Brecht e la formula del teatro politico

Atmosphären sind fragile Dinge. Dennoch werden wir kontinuierlich von ihnen beeinflusst. Gelegentlich sind wir in der Lage, eine Atmosphäre zu erzeugen, öfter aber erleben wir sie und lassen uns auf sie ein. In dieser Schrift möchte ich einen allgemeinen Blick auf das Thema der Atmosphären im Kunstfeld richten, ein Thema, welches uns direkt zum Szenischen und zur Gesellschaft des Spektakels führt. Des weiteren möchte ich auf den Einfluss der Oper auf die bildende Kunst verweisen und werde mich unter anderem auch mit den Gewinnerinnen der letzten zwei Biennali di Venezia auseinandersetzen; Anne Imhof (*1978) und Lina Lapelytė (*1984). Von diesen Beispielen aus gelangen wir wir zum eigentlichen Kern dieser Schrift; die Psychogeographie in der Kunst. Zur Feststellung werde ich mich an Landkarten von Video-Games sowie der Loci-Methode bedienen, Begriffe wie Raumerfahrung und Gesamtkunstwerk schließen sich von alleine an. Die Problematik des Mentalen Raumgefühls wird zur wichtigen Frage dieser Schrift, die ich so gut wie möglich untersuchen möchte. Die folgende Arbeit, die als Abschluss einer fünfjährigen Erfahrung meines Lebens dient, schlägt den Takt für meine späteren künstlerischen Recherchen.

En Antígona podemos ver como el papel de la mujer a través de confrontarse ante la decisión de respetar las leyes divinas o seguir las leyes humanas toma gran fuerza, puesto que la mujer en el siglo V a. C. no tenía gran importancia como integrante de la sociedad, dado que no participaba en la toma de decisiones, ni tenía un lugar destacado jerárquicamente, como el hecho de no pertenecer a la ciudadanía. Es por ello que la decisión de Antígona de respetar la ley divina ante la de los hombres sin importar las consecuencias que este hecho le acarreara toma gran importancia al ser un contraste destacado en cuanto a la sociedad en la que se desarrolla la historia.

Este trabajo se propone analizar la función del espacio en relación con el lenguaje en las obras cuyo motivo central es el mito de Fedra, Hipólito y Teseo. Su objetivo es rastrear cómo, a partir de las didascalias, indicaciones escénicas y lenguaje mismo, se construye un universo semiótico en el cual los parámetros de escena y obsceno -en el sentido estricto de la palabra, lo que permanece fuera de escena-, cumplen un rol fundamental. Intentaremos demostrar que no sólo las acotaciones o prólogos en piezas teatrales permiten la construcción espacial sino que, también, el lenguaje verbal y visual opera en esa dirección, señalando los límites del adentro/ afuera, del on-stage/ off-stage y de las posibilidades de representación de la violencia en obras, ya del teatro griego y romano clásicos, ya modernas y contemporáneas.

Claudio Vicentini, La teoria della recitazione. Il distacco dell’attore dal
personaggio
The article (in reference to a previous work, Per un’ecologia delle nozioni di
lavoro. L’identificazione dell’attore con il personaggio, «Acting Archive
Review», n. 7, May 2014) explores two notions: «distacco» (detachment: to
express the character’s feelings the actor must make no recourse to his own
feelings), and «dislocazione» (dislocation: the actor’s presence remains
visible beside the performed character). The two notions, mostly confused
and related to Brecht’s alienation-effect, were actually independently born
in the late XVIIIth and early XIXth centuries, well before Brecht’s a-effect
theory was conceived. They were both developed to answer a key question
of the theory of acting of the time: how to perform on stage a character that
is hardly representable (a tragic character whose powerful expressions,
acts, attitude cannot be performed with the actor’s simple human means; or
an evil character whose wickedness is unbearable to the audience moral
delicacy). The «distacco» was firstly introduced by Antoine-François
Riccoboni in 1750, and then developed by Diderot in his Paradoxe sur le
comédien, the «dislocazione» was described by Charls Lamb who in his
article Imperfect Dramatic Illusion (1825) put in question two effects usually
required to the acting: the «dramatic illusion» (the spectator must to some
degree feel like real what happens on stage), and the «fourth walls» (the
actor performing the character must look totally unconscious of the
audience presence).

‫الدولي‬ ‫المؤتمر‬ ‫أعمال‬ : ‫اليونانية‬ ‫الدراسات‬ ‫قسم‬ ‫نظمه‬ ‫الذي‬ ‫الثقافات،‬ ‫بين‬ ‫والتفاعل‬ ‫الترجمة‬ ‫والالتينية‬ ‫اآلداب،‬ ‫كلية‬ ، ‫والمعهد‬ ‫للترجمة،‬ ‫القومي‬ ‫المركز‬ ‫مع‬ ‫بالتعاون‬ ‫القاهرة،‬ ‫جامعة‬ ‫مارس‬ ‫بالقاهرة،‬ ‫اإليطالي‬ ‫الثقافي‬ 9002 ‫المعطي‬ ‫عبد‬ ‫الدكتور‬ ‫لألستاذ‬ ‫التكريمي‬ ‫الكتاب‬ ، ‫شعراوي،‬ ‫كالسيكية‬ ‫أوراق‬ ‫مجلة‬ ‫التاسع،‬ ‫العدد‬ ، ( ‫القاهرة،‬ 9002 ) ‫صفحات‬ 801 -891 . ‫في‬ " ‫المعاصر‬ ‫المصري‬ ‫المسرح‬ " ‫حوار‬ ‫شعراوي‬ ‫المعطي‬ ‫عبد‬ ‫الدكتور‬ ‫األستاذ‬ ‫فكر‬ ‫مع‬ ‫أ‬ . ‫د‬ . ‫النويعمي‬ ‫ماجدة‬ ‫والرومانية‬ ‫اليونانية‬ ‫الدراسات‬ ‫أستاذ‬ ‫اآلداب‬ ‫كلية‬ -‫اإلسكندرية‬ ‫جامعة‬ ‫بدأ‬ ‫األساس‬ ‫الدكتور‬ ‫ثم‬ ‫العربي،‬ ‫المسرح‬ ‫ثم‬ ‫الفرعوني،‬ ‫بالمسرح‬ ‫دراسته‬ ‫شعراوي‬ ‫الشرق،‬ ‫وأهل‬ ‫مصر‬ ‫بين‬ ‫الحضاري‬ ‫االحتكاك‬ ‫مراحل‬ ‫فتتبع‬ ‫النقدية‬ ‫مسيرته‬ ‫واصل‬ ‫الغرب‬ ‫وأهل‬ ‫مصر‬ ‫بين‬ ‫ثم‬ . ‫على‬ ‫يدلل‬ ‫أن‬ ‫وحاول‬ ‫موجزة‬ ‫بدراسة‬ ‫نتائجه‬ ‫صدق‬ ‫المعاصر‬ ‫المصري‬ ‫المسرح‬ ‫رواد‬ ‫لبعض‬ . ‫تناول‬ ‫الدكتور‬ ‫شعراوي‬ ‫في‬ ‫دراسته‬ ‫وهي‬ ‫وحيوية،‬ ‫هامة‬ ‫موضوعات‬ ‫عدة‬ : ‫قبل‬ ‫والمسرح‬ ‫مصر‬ ‫والمسرح،‬ ‫العرب‬ ‫والمسرح،‬ ‫الفراعنة‬ ‫يعقوب‬ ‫صنوع‬ 2 ، ‫والمسرح،‬ ‫الحضاري‬ ‫االحتكاك‬ ‫يعقوب‬ ‫الغربية،‬ ‫والمؤثرات‬ ‫صنوع‬ ‫عثمان‬ ‫محمد‬ ‫جالل‬ ‫وا‬ ‫الغربية،‬ ‫لمؤثرات‬ ‫محمد‬ ‫تيمور‬ ‫الغربية‬ ‫والمؤثرات‬ . ‫لهذه‬ ‫مما‬ ‫الرغم‬ ‫وعلى‬ ‫أنه‬ ‫إال‬ ‫أهمية،‬ ‫من‬ ‫جميعا‬ ‫الموضوعات‬ ‫أقصرحديثي‬ ‫أن‬ ‫لي‬ ‫تراءى‬ ‫واحد‬ ‫محور‬ ‫على‬ ‫هذ‬ ‫محاور‬ ‫من‬ ‫المحور‬ ‫هو‬ ‫وهذا‬ ‫القيمة،‬ ‫الدراسة‬ ‫ه‬ ‫المصري،‬ ‫المسرح‬ ‫بجوهر‬ ‫المتعلق‬ ‫بذلك‬ ‫وأعني‬ : " ‫الغربية‬ ‫والمؤثرات‬ ‫صنوع‬ " ‫اعت‬ ‫على‬ ، ‫أن‬ ‫بار‬ ‫يعقوب‬ ‫رائد‬ ‫هو‬ ‫صنوع‬ ‫مصر‬ ‫في‬ ‫العربي‬ ‫المسرح‬ . ‫كي‬ ‫بها‬ ‫اإللمام‬ ‫القارئ‬ ‫على‬ ‫ينبغي‬ ‫التي‬ ‫األمور‬ ‫من‬ ‫ولعل‬ ‫مسرح‬ ‫فهم‬ ‫من‬ ‫يتمكن‬ ‫يعقوب‬ ‫وخاصة‬ ‫والفرنسي،‬ ‫اإليطالي،‬ ‫المسرح‬ ‫هو‬ ‫صنوع،‬ ‫موليير‬ ‫مسرح‬ 1 . ‫يقف‬ ‫الدكتور‬ ‫الدارسون‬ ‫أجمع‬ ‫الذي‬ ‫صنوع،‬ ‫يعقوب‬ ‫مع‬ ‫طويلة‬ ‫وقفة‬ ‫شعراوي‬ ‫الفن‬ ‫ومؤرخو‬ ‫المعاصر‬ ‫المصري‬ ‫المسرح‬ ‫رائد‬ ‫أنه‬ ‫على‬ ‫المسرحي‬ ‫أقام‬ ‫فقد‬ ، ‫يعقوب‬ 2 ‫الفن‬ ‫هذا‬ ‫أصول‬ ‫لتنشر‬ ‫مصر‬ ‫إلى‬ ‫والسورية‬ . ‫صنوع‬ ‫ألن‬ ‫ونظرا‬ ‫اللغات‬ ‫يجيد‬ ‫كان‬ ‫وغيرها‬ ‫والتركية،‬ ‫واإليطالية‬ ‫الفرنسية‬ 1 ‫أن‬ ‫علمنا‬ ‫إذا‬ ‫عجب‬ ‫فال‬ ، ‫قد‬ ‫ه‬ ‫استوحى‬ ‫األور‬ ‫المسرح‬ ‫من‬ ‫مسرحياته‬ ‫و‬ ‫بي‬ . ‫أفكار‬ ‫أتناول‬ ‫أن‬ ‫المناسب‬ ‫من‬ ‫ولعله‬ ‫الدكتور‬ ‫شعراوي‬ ‫بوضعها‬ ‫يليها‬ ‫ما‬ ‫إلى‬ ‫تقودنا‬ ‫نقطة‬ ‫كل‬ ‫محددة،‬ ‫نقاط‬ ‫في‬ : ‫مصري‬ ‫مسرح‬ ‫إنشاء‬ ‫في‬ ‫للتفكير‬ ‫صنوع‬ ‫دفعت‬ ‫التي‬ ‫المالبسات‬ : ‫أشار‬ ‫الدكتور‬ ‫حدث‬ ‫من‬ ‫أكثر‬ ‫إلى‬ ‫شعراوي‬ ، ‫حدا‬ ‫ب‬ ‫يعقوب‬ ‫التف‬ ‫إلى‬ ‫صنوع‬ ‫كير‬ ‫مصري،‬ ‫مسرح‬ ‫إنشاء‬ ‫ضرورة‬ ‫في‬ ‫من‬ ‫جزء‬ ‫على‬ ‫مقام‬ ‫جديد‬ ‫مسرح‬ ‫افتتاح‬ ‫أولها‬ ‫في‬ ‫وذلك‬ ‫األزبكية،‬ ‫ميدان‬ ‫أرض‬ ‫عام‬ ‫من‬ ‫يناير‬ 1918 ‫المسرح‬ ‫باسم‬ ‫وعرف‬ ، ‫الكوميدي،‬ ‫له‬ ‫وجاءت‬ ، ‫فرنسا‬ ‫من‬ ‫خصيصا‬ ، ‫عليه‬ ‫عروضها‬ ‫لتقدم‬ ‫كوميدية‬ ‫فرقة‬ . ‫الثاني‬ ‫الحدث‬ ‫أما‬ ، ‫واألهم‬ ، ‫فهو‬ ‫حضور‬ ‫يعقوب‬ ‫صنوع‬ ‫افتتاح‬ ‫أول‬ ‫في‬ ‫األوبرا‬ ‫دار‬ ‫نوفمبر‬ ‫العام‬ ‫من‬ ‫نفسه‬ ، ‫أوبرا‬ ‫ومشاهدته‬ " ‫رجيوليتو‬ " ‫الموسيقار‬ ‫قدمها‬ ‫التي‬ ، ‫فردي‬ ‫اإليطالي‬ ، ‫أوبرا‬ ‫عن‬ ‫بديال‬ " ‫عايدة‬ " ‫التي‬ ، ‫حفل‬ ‫في‬ ‫عرضها‬ ‫مقررا‬ ‫كان‬ ‫االفتتاح،‬ ‫ال‬ ‫الموعد‬ ‫في‬ ‫إعدادها‬ ‫من‬ ‫يتمكن‬ ‫لم‬ ‫فردي‬ ‫أن‬ ‫غير‬ ‫لال‬ ‫محدد‬ ‫فتتاح‬ . ‫أما‬ ‫األور‬ ‫المسرح‬ ‫ورثها‬ ‫ثم‬ ‫القديم،‬ ‫الروماني‬ ‫المسرح‬ ‫سادت‬ ‫و‬ ‫والمسرح‬ ‫بعامة،‬ ‫بي‬ ‫بخاصة‬ ‫الفرنسي‬ . ‫عند‬ ‫للعقدة‬ ‫السريع‬ ‫الحل‬ " ‫المصري‬ ‫موليير‬ " : ‫لجأ‬ ‫يعقوب‬ ‫إلى‬ ‫دائما‬ ‫صنوع‬ ‫ما‬ ‫نحو‬ ‫على‬ ‫مسرحياته،‬ ‫في‬ ‫الحدث‬ ‫تعقيد‬ ‫لنا‬ ‫يوضح‬ ‫الدكتور‬ ‫تصل‬ ‫حتى‬ ‫شعراوي،‬ ‫المسرحية‬ ‫التأزم‬ ‫من‬ ‫كبيرة‬ ‫مرحلة‬ ‫إلى‬ ‫السريع‬ ‫الحل‬ ‫إلى‬ ‫فيلجأ‬ ‫األخير‬ ‫المشهد‬ ‫في‬ . ‫مسرحية‬ ‫في‬ ‫المثال‬ ‫سبيل‬ ‫فعلى‬ " ‫الضرتين‬ " ‫الحل‬ ‫يأتي‬ ‫األولى،‬ ‫الزوجة‬ ‫بطرد‬ ‫الزوج‬ ‫ويقوم‬ ‫الموقف،‬ ‫يتأزم‬ ‫أن‬ ‫بعد‬ ، ‫وتعود‬ ‫سريعا‬ ‫زوجها‬ ‫إلى‬ ‫الزوجة‬ . ‫م‬ ‫وصنوع‬ ‫الذي‬ ‫بموليير‬ ‫الشأن‬ ‫هذا‬ ‫في‬ ‫تأثر‬ ‫لجأ‬ ‫مسرحيات‬ ‫في‬ ‫الحال‬ ‫هو‬ ‫كما‬ ‫فورا،‬ ‫الزواج‬ ‫ويعقبه‬ ‫سريعا،‬ ‫الخفاء‬ ‫كشف‬ ‫إلى‬ :

This paper focuses on the performative perspective of fear in the
contemporary theatrical experience, in order to propose a reading that can be framed according to the direction of Euripides’ Bacchae by the Master of the international scene Theodoros Terzopoulos. Using a short projection of the audiovisual material of the performance, we will try to identify the passage from the text to the theatrical performance. The video focus on the figure of Agave and her communicative models
when he recognizes the broken head of her son Pentheus, one of the most famous and touching scenes of ancient Greek tragedy. The path starts from the vision of the actress’s character on stage, from the performing of fear and its dual manifestation: the one of phonological character (voice) and the other of the prosopographic character
(face) that will allow us to highlight the aesthetic outcomes following the dramaturgical choices made by the director to underline the fear of the character as a linguistic act.

En este libro, las autoras estudian las carreras artísticas, las formas de organización, el trabajo creativo y las poéticas de seis compañías teatrales chilenas: La Puerta, Equilibrio precario, La Patogallina, Teatro La María, Teatro de Chile y La Peste. A partir de una perspectiva sociológica interdisciplinaria, el libro se funda en una investigación llevada a cabo en Santiago y Valparaíso entre 2007 y 2008, que comprende entrevistas, recopilación y análisis de diversas fuentes escritas, además de un análisis de las obras de los distintos grupos teatrales estudiados. Se propone así una reflexión sobre los procesos creativos desarrollados por las compañías, las lógicas de circulación de sus espectáculos a una escala nacional e internacional,  y sus estrategias de autogestión y legitimación a la luz de las políticas culturales de los gobiernos post-dictadura en Chile. Más ampliamente, el libro busca inscribir las prácticas y discursos artísticos de los grupos en el contexto histórico-político y en la compleja situación de la institucionalidad teatral local.

The blinding of Gloucester in Act 3 of King Lear raises provocative and unsettling questions about the relationship of violence and spectatorship. After looking at different strategies that directors have followed in staging this scene, I discuss the sequence’s gestural and kinesthetic dynamics and the cognitive mechanisms by which spectators vicariously enact the sensorimotor acts they observe on stage. Among the scene’s conflicting empathic solicitations, Shakespeare takes unusual care to emphasize Gloucester’s blinding as a gestural, intentional act. To the extent that spectators identify with Cornwall’s actions despite their defenses against doing so, they find themselves implicated in violence’s morally conflicting kinesthetic engagements. Acknowledging these engagements requires an openness to cruelty and, perhaps counterintuitively, to the impulse to inflict it on others. As a way of deepening the kinesthetic understanding of this embodied dynamic, the author participated in Shakespeare’s blinding scene through an informal acting workshop. The discussion of this experience is informed by Emmanuel Levinas’s phenomenology of alterity, which centers on the vulnerability and ethical challenge of the Other’s face.

Skidmore College, where his teaching and research focus on dramatic literature, performance studies, aesthetics, and critical theory. His first book, Baroque Modernity: An Aesthetics of Theater, analyzes the modernist fascination with baroque style between 1875 and 1935 and is forthcoming from Johns Hopkins University Press in November 2021. Introduction: Thornton Wilder's Baroque Vision On 26 August 1937, Thornton Wilder wrote to Gertrude Stein from Salzburg, "Pleasure comes in all shapes and sizes and it's now what I live for. For instance: there are two polychrome baroque archangels on the altar of the Peterskirche in poses of flight and ecstasy that no human body could ever assume, and as far as I'm concerned they're my definition of ART" (Letter 163). How could this seemingly most American of authors-whom the critic Dwight Macdonald once infamously derided as a literary Norman Rockwell (43)-care so much for baroque sculpture as to claim it for his model for "ART"? Although Wilder may seem familiar to many, he nevertheless remains something of an enigma. A recently rediscovered document in his handwriting, "The Barock; or, How to Recognize a Miracle in the Daily Life," offers us a new opportunity to rethink his writings alongside these remarks to Stein. Best known to audiences worldwide as the author of Our Town (1938), Wilder first won international fame with the publication of The Bridge of San Luis Rey, his 1927 novel set in Counter-Reformation Peru, which won him the first of three Pulitzer Prizes. The conventions of realism always left him cold, and even before World War I he was already exploring new forms of theatricality that could serve as alternative futures for American writing. Envisioning what might be called a "truer realism" (Fuller 216), one that could enshrine theater as a medium with its own integrity, he claimed, "The stage is fundamental pretense and it thrives on the acceptance of that fact and in the multiplication of additional pretenses" ("Some Thoughts" 270). Until recently, however, it was not recognized that Wilder understood his writing, at least partly, as the continuation and transformation of a broadly conceived baroque tradition in Europe. And yet the following manuscript, originally sketched in Wilder's handwriting and long lost in the archive, comprehensively spells out his vision of the baroque as a period, style, and source of inspiration. I recently uncovered this overlooked document in Yale University's Beinecke Rare Book and Manuscript

Following Charles S. Peirce and Paul Friedrich, this paper attempts to deal with the concept of ‘performative symbols’—symbols that are realized when they are performed. This concept is explored through an investigation of the presentation of gender identity in two different forms of Iranian traditional theatre: the tragic epic form, ta’ziyeh, and the comic improvisatory form, ru-hozi. [keywords: Iran, ta’ziyeh, ru-hozi, symbols, arbitrariness,
performance theory, gender identity]

Corporeity can be shown as an important study element of the relations between individuals, indicating a singular modus for the development of cognitive-affective processes. The aim of this study was to develop a reflection, starting from the analysis of a creative process that involved the realization of a poetic-theatrical experiment, in order to investigate how the dynamics between the word and the subtext were processed, using corporeity as argument for the explanation of the signification process. The thesis that I defend is that corporeity is the element that propitiate the process of signification, and the subtext being the in-between-place of this communication, establishing this dynamic as a pedagogy of the theatrical event. The dramaturgy of corporeity proposes a working way, originating from an intense intimate dynamization between the sensorial, corporeal, affective, aesthetical, esthesical, volitional, synaesthesical and imagery perceptions developed at the moment of the actors’ creative process. The working procedure addressing the dramaturgy of corporeity would also be a methodological alternative for the actors to learn to understand themselves as artists-educators and on how to make their work a potentiator of the link between these two words. In this study, the poetic-theatrical experiment, based on the text Prometheus Chained, by Aeschylus, was carried out as fieldwork, in order to foster the reflexive motes necessary for understanding the moments of aesthetic living, essential to an understanding of how pedagogy of the theatrical event works. With this work, it was possible to elucidate a differentiated way of operating the cognitive-affective processes, which occurs through the relations of corporeity. This fact made it possible to establish a singular means of educational, cognitive-affective processes, detached from traditional meanings in the field of education which usually think of them when focused through cognitive cognitive-encephalic analyzes. Thus, it was possible to observe the experiential relationships that occur during the theatrical event as an important field in the area of education, which has not yet received an explanatory approach as developed in this research.

Atmospheres are fragile things. We are nonetheless constantly influenced by them. Occasionally we find ourselves able to create an atmosphere, but most often we find ourselves experiencing them and allowing ourselves to be immersed in them. In this work, I will look generally at the subject of atmospheres in the field of art, a topic which leads us directly to the scenic and the Society of the Spectacle. Not in the world of ‘moral leadership’, but rather in today’s ‘emotional leadership’, the ‘Empire of the Self’, we find countless examples of and connections to the Romantic. Given the necessity here to delineate the field of research, as a point of departure I will focus on a single personality who, for these purposes, can be seen as a visionary of the 21st century. An enlightening example for our explorations is provided by the soviet filmmaker Andrei Tarkovsky (1932-1986). His studies of atmospheres such as the series later titled Instant Light show him to be a researcher who had presciently implemented philosophical theories of today. Further to this, I will examine the influence of opera on the visual arts, looking at examples including the winners of the last two Biennali di Venezia; Anne Imhof (*1978) and Lina Lapelytė (*1984). Based on these two examples we come to the core consideration of this thesis - that of psychogeography in art. Although the concept of psychogeography has most obviously influenced areas like architecture theory, town planning, geography and psychology, it was originally coined by the Situationist International artists. The term is thus brought back to its original context, in which we must now make a distinction between the mental and the physical psychogeographical understanding. I will examine and elucidate these concepts with reference to maps in computer games and the method of loci; in addition to which the terms spatial experience and Gesamtkunstwerk (complete work of art) automatically come into play. Performative works such as Anne Imhof’s “Faust” 2017 and Sun & Sea (Marina) 2019 by Lina Lapelytė, Rugilė Barzdžiukaitė and Vaiva Grainytė are particularly suitable examples for us to consider. The problematics of mental sense of space inform one of the most important questions of this work, which I will investigate as thoroughly as possible. This thesis, forming the conclusion of a five-year-long life experience, sets the tone for my later artistic research.

Considerando que las investigaciones sobre el Espacio Teatral son relativamente jóvenes, excluyendo las discusiones desde el ámbito de la arquitectura, los nuevos aportes plantean la necesidad de acercamientos más profundos. El Espacio Teatral ha empezado a ocupar un lugar relevante en las investigaciones teatrales, y en las reflexiones de los procesos de la creación teatral, develando la complejidad que encierra el enunciado de "Espacio Teatral". Este documento pretende situarnos, desde el ámbito de los procesos creativos, en un espacio que tiene la responsabilidad de contener en sí, no sólo lo que ocurre en la escena, también la relación convivial con el espectador.

A problem seems to undermine the research on history of acting: the scholar cannot get in touch with what he is supposed to study. The actor’s work disappears as soon as the performance ends: according to a famous dictum, the actor «is  forever carving a statue of snow» (Barrett, Matthews 1914, Duerr 1962, Cole and Chinoy 1970). That happens however not only in the history of acting. In any research  concerning the past (the life of Napoleon, the tea trade in England at the end of the XVIII century) the scholar does not face the «real thing», but only documents that allow him to build up a mind-image of his subject-matter (Vicentini 1988, Fazio 2006, Pietrini 2009). The point is then the amount and the quality of the information the documents can offer in any research field.
As far as the actor’s art, the subject- matter of the study is obviously what the actors do on stage. But the books on the history of acting mostly dwell on something else: the social and economic condition of the actor’s  life, the job contracts, the companies organization, and above all the scholars tend to reduce the history of acting to the history of the theory of acting (see by example Duerr 1962, Allegri 2005, Benedetti 2007). The reason is simple. Usually  the documents we dispose of,  give us a scanty information on what the actors do on stage, and we cannot build up a certain and detailed image of their acting. The scholars are then tempted to study not what they should, but what they can, and they eventually offer to the reader a kind of «surrogate history» of acting.
The amount of information we can get on the actual acting, however, changes according the period of time we are considering. Until the XVIII  century (when a well aware and quite sophisticated critique of acting began) the information is quite rhapsodic  and undetailed. From the XVIII century on we dispose of a very large number of articles, essays, letters, that offer detailed descriptions and analysis of the performances of the most important actors of the time. Then technology in the XX century opened the way to record the actors’ performances on tapes and more sophisticated multimedia. That sets the standards of any possible history of acting: uncertain and undetailed so far antiquity, middle ages, renaissance and baroque acting are concerned;  more and more analytic and specific through the XVIII and XIX centuries. Eventually, when we will actually master the new recording techniques and develop the methods of analysis of the actor’s art they allow, a new era of acting studies will open.

Το κείμενο αυτό, το οποίο ακούστηκε στο «Διήμερο θεατρολογίας και Σημειολογίας του Θεάτρου» στο Ίδρυμα Γουλανδρή-Χορν στις 26/1/1991, δημοσιεύτηκε για πρώτη φορά στο περιοδικό Διαβάζω, τχ. 300, 9/12/1992 και αναδημοσιεύτηκε στο βιβλίο Σημειολογικές προσεγγίσεις του Θεατρικού φαινομένου. Θεωρία και κριτική ανάλυση της σύγχρονης θεατρικής πρακτικής, Δελφίνι, 1997, Ελληνικά Γράμματα, 1999, Αθήνα, φέρει εδώ κάποιες αναγκαίες διορθώσεις και μικρές αποσαφηνίσεις.

Θα ήθελα, εισαγωγικά, να διευκρινίσω πως το κείμενο που ακολουθεί δεν έχει στόχο την αξιολόγηση του επί σκηνής γυμνού και της πρόσληψής του αλλά την κατάθεση μιας απόπειρας αναλυτικής προσέγγισης και ίσως κατηγοριοποίησης του φαινομένου. Εξάλλου, θεωρώ δεδομένο πως ένας λόγος πάνω στο θεατρικό γυμνό δεν αγνοεί τη βασική αρχή ότι η πρόσληψή του εξαρτάται και προσδιορίζεται από το σύνολο των κοινωνικών κανόνων, νοοτροπιών, αντιλήψεων και προκαταλήψεων αλλά και αισθητικών αξιών μιας δεδομένης κοινωνικο-ιστορικής στιγμής.

Da C. Vicentini, La teoria del teatro politico (Firenze, Sansoni), pp. 125-162.
Sommario: 1 La nozione del teatro di guerriglia. 2 Teatro sperimentale e  teatro politico. 3 La nuova sinistra e il teatro di guerriglia. 4 Teatro di guerriglia e azione diretta. 5 Lotta rivoluzionaria e spettacolo teatrale. 6 Il modello del teatro di guerriglia.

Introducción Este artículo investiga la noción de la hibridación presente en el espacio teatral tradicional (era analógica) y en la performance contemporánea e inmersiva que combina teatro, juego e instalación (era digital). Examinamos a tal fin, por un lado, la situación escénica de la capital argentina, la actual Ciudad Autónoma de Buenos Aires, entre fines del Siglo XIX y comienzos del XX, en tanto paradigma del arte escénico analógico y, por otro lado, el presente artístico performativo a través de una serie de manifestaciones contemporáneas en Europa, Japón y Estados Unidos. A partir de este recorte geográfico y temporal, analizamos una selección de obras y las hacemos dialogar con otras fuentes críticas, con el objetivo de interrogar el carácter de hibridación de la práctica teatral analógica y digital. Este carácter híbrido presente en la performance digital contemporánea, según nuestra hipótesis, presenta antecedentes en cuestiones de arquitectura-espacio, transformación urbana y material, y en aspectos de sociabilidad e identidad de públicos, que pueden en su conjunto aportar una perspectiva complementaria a la comprensión de continuidades y discontinuidades entre las formas de teatro convencionales y las prácticas performativas actuales. Es nuestro argumento que variantes teatrales híbridas vinculadas a la coyuntura histórico-social, técnica, territorial y cultural del pasado, especialmente a partir de la segunda mitad del siglo XIX en capitales teatrales finiseculares, pueden ser puestas en diálogo con formas escénicas contemporáneas. Si efectuamos una observación de la evolución del teatro clásico, de sus variantes tipológicas y de géneros (arquitecturas y representaciones analógicas) y las comparamos con las performances del presente que integran tecnologías, ya sea en términos de espacios de representación (escena-auditorio) como en cuanto a dramaturgia y roles teatrales que intervienen en dicha práctica (actor-espectador) concluiremos que los modos de "hacer teatro" del pasado están mutando. Algunos de ellos incluso han desaparecido en las últimas décadas, en favor de recientes prácticas performativas que combinan lo lúdico, lo teatral, lo conceptual y lo participativo, en las cuales el público toma un rol activo, inmersivo y, muchas veces, protagónico. A estas nuevas formas las llamamos performances inmersivas contemporáneas. En esta inflexión, la tecnología digital es un elemento esencial que permite una deconstrucción de tipo, de género, de espacio y de rol teatrales, en favor de una resemantización de la dramaturgia, en la cual el espectador es el centro del proyecto en una práctica contemporánea experimental que se considera de carácter "híbrido". Este artículo explora la fusión entre espacio escénico y auditorio, actor y público, teatro y paisaje digital, interrogándola desde una perspectiva temporal (histórica), e intenta demostrar que en el teatro analógico del pasado (como paradigma nos centramos en la red de capitales teatrales de fines del siglo XIX y comienzos del XX, especialmente en la ciudad de Buenos Aires, centro teatral de referencia mundial) también existieron hibridaciones incipientes que anticipan, de modos singulares, dinámicas hoy presentes en la performance digital contemporánea. La utilización de la actual Ciudad Autónoma de Buenos Aires como fuente de ese pasado teatral donde encontrar dichas hibridaciones se afirma en el carácter que esta ciudad ha adquirido en muchos estudios que la han sumado como parte de la red de capitales teatrales mundiales fin-de-siècle (Charle, 2008), en la medida que la Buenos Aires finisecular integró un circuito de públicos, artistas, modas, textos, tipologías teatrales, migraciones, transculturaciones, cambios materiales y de extensión territorial en simultáneo con las transformaciones de otras capitales occidentales, tales París, Londres, Barcelona, Madrid, Nueva York, Chicago, Berlín, México, Río de Janeiro, San Pablo, Viena, entre otras. En definitiva, la ciudad de Buenos Aires para el periodo en cuestión, es una fuente pertinente y comparte con otras capitales procesos similares en cuanto a su consolidación material, contexto social y político. Estos últimos cohabitan con especificidades culturales propias de esta ciudad y la transforman en una referencia histórica relevante tanto en su integración al mundo como en su singularidad. En este artículo se hacen también presentes cuestiones tipológico-espaciales del edificio teatral en su evolución desde la antigüedad clásica hasta nuestros días, esenciales a estas interrogaciones en torno al carácter de la práctica teatral, para así integrar el proceso en una perspectiva arquitectónica de larga

El presente volumen, Estudios teatrales: nuevas perspectivas y visiones comparadas, tiene como objeto devolver la solitaria labor de la investigación al ámbito de lo colectivo donde, al igual que en el teatro, se materializan sus resultados gracias al encuentro compartido y la difusión de los mismos. Para ello, el volumen recoge veintiuna visiones de jóvenes investigadores en estudios teatrales acompañados por tres artículos de investigadores ya establecidos en la materia.
Disponible en acceso abierto: http://libros.um.es/editum/catalog/book/1881

Sandra Umathum Über seinen Schultern hängt ein langes schwarzes Tuch, sein rechtes Bein steckt bis zum Knie in einer ebenfalls schwarzen Strumpfhose. Keuchend, als imitiere er einen Luftzug, geht er durch das Zimmer; der Rest der Strumpfhose schleift hinter ihm auf dem Fußbo-den. Im Vorübergehen löscht er erst das Licht einer Lampe, anschließend zieht er vor den Fenstern einen Vorhang nach dem anderen zu. Unterdessen sitzt vorn im Bild ein unbeteiligt wirkender Mann, der mit seinem Notizbuch beschäftigt ist. Mit dem Entzug der Erkennbarkeit des Raums und der beiden Personen ist diese Szene schon beinahe an ihrem Ende angekommen. Nur noch die zur dunklen Fläche gewordenen Umrisse des über den Schultern hängenden Tuchs sind zu erfassen. Es ist still jetzt, und unterbro-chen wird die Stille allein von einer zögerlich fragenden Stimme: "Nun, hat das Ding sich wieder gezeigt heute Nacht?" Diese Szene, mit der Eva Könnemanns Dokumentation Die Tragöden aus der Stadt (D 2008) beginnt, springt in ein Geschehen, das ohne viel Mühe als theatrales Rollen-spiel zu identifizieren ist. Einer hat sich notdürftig verkleidet und spricht eine auswen-dig gelernte Textzeile. Ein Anderer, unverkleidet und stumm, bringt etwas zu Papier. Zu sehen sind, so wird sich im weiteren Verlauf des Films herausstellen, zwei Personen bei der Arbeit oder genauer: bei den Proben für eine Hamlet--Produktion. 1 Die Tragöden aus der Stadt ist eine Art filmisches Proben--Protokoll. 2 In knapp 30 Minuten und nur weni-gen Szenen vernäht und zerschneidet es zugleich einige der Stationen, in denen der Re-gisseur Laurent Chétouane und der Schauspieler Fabian Hinrichs die Annäherung an einen Stoff, eine Figur, eine Dramaturgie unternehmen. Der Film bringt diese Annäherungsversuche allerdings nicht in eine chronologi-sche Reihenfolge. Bestimmte Details, wie eine diskontinuierlich auftauchende Verlet-zung an Hinrichs' Nase, verraten, dass Könnemann die Montage ihres Materials nicht in den Dienst einer exakten Nacherzählung des tatsächlichen Verlaufs gestellt hat. Statt das reine Nachzeichnen zu favorisieren, verdichtet sie die einzelnen Probensituationen zu einer eigenen filmischen Dramaturgie, die sowohl das Wie der Annäherungsversuche als 1 Unter dem Titel Ich bin Hamlet hatte diese Inszenierung wenige Monate später, im Januar 2008, am Schauspiel Köln Premiere. 2 2008 gewann Die Tragöden aus der Stadt bei den 54. Internationalen Kurzfilmtage Oberhausen den Preis für den besten Beitrag des Wettbewerbs.

https://youtu.be/fMrySeNEht4

Can the relentless misogyny of medieval French farce still play in the twenty-first century? Check out this brilliant performance of Cooch E. Whippet, as directed by David Beach, which premiered at Lofton Durham’s inaugural Mostly Medieval Theatre  Festival (May 2017). It has already helped me to teach comedy.

https://youtu.be/fMrySeNEht4

Cuckold now and evermore, Cooch the Cobbler likes to lock up his wife inside the house while he is out hawking his wares.  Annoyed by those impediments, Wilhelmina devises a ruse with her lover (their Priest) such that, the next time Cooch curses her out with “The devil take you!,” the Priest will appear in a devil-costume and do just that.  He does, they do, and Cooch can but accept his lot as a henpecked husband.  And that’s the story of being Cooch E. Whippet, which appears as Play #10 in The Farce of the Fart.

Thinking together Samuel Beckett's Quad play and Graph Theory in Mathematics. Finding new alternatives for Quad.

It is presented as a workshop in EuroMath&EuroScience 2018 at Krakow/ Poland as MATHEMATICS IN THEATRE: QUAD AND CONSUMING SPACE (SAMUEL BECKETT’S QUAD PLAY AND GRAPH THEORY)

It is presented as a poster presentation at 30th National Mathematics Symposium in Turkey.

Bu calisma, Samuel Beckett'in Quad oyununu Graph Theory isiginda incelemeyi ve alternatif Quad oyunu sunmayi amaclamistir.
Krakow, Polonya'da gerceklesen EuroMath&EuroScience 2018 programinda workshop olarak gerceklestirilmistir.
.
Türkiye 30. Ulusal Matematik Sempozyumunda poster olarak sunulmustur.

ABSTRACT: This article focuses on Gertrude Stein’s 1927 opera Four Saints in Three Acts, which takes a pair of baroque saints for its protagonists and which debuted in a 1934 production replete with deliberate citations of baroque stage design, gesture, and visual art – details that have gone almost entirely unacknowledged in the past several decades’ scholarship on Stein. It recovers these forgotten production details by juxtaposing a reading of Stein’s text and performance theories with Walter Benjamin’s vision of baroque theatre as articulated in The Origin of German Trauerspiel. Interpreting Stein’s methods within the frame of baroque theatrical allegory, it suggests Stein’s situation within a larger tradition of baroque modernism. It argues that Stein found, within the concept of the baroque, a productive means of challen- ging norms of representation across a wide array of registers – linguistic, aesthetic, sexual, racial, and historiographic.

KEYWORDS: Gertrude Stein, Walter Benjamin, baroque theatre, gesture, allegory, citationality, Four Saints in Three Acts

Este trabajo, primero de una serie, propone y desarrolla el concepto de gracia para caracterizar la comicidad genuina de la comedia cómica calderoniana. De los tres sentidos que el término tiene en castellano, se analiza aquí la relación entre las acepciones teológica y cómica. En cuanto a la primera, tras situar a Calderón en el debate teológico en torno a la gracia, se estudia su alegorización de esta en el auto sacramental La hidalga del valle. Atendiendo después al sentido cómico, se presenta un esquema general de los varios niveles teatrales en los que interviene la gracia, para, centrándonos en el aspecto dramatúrgico, demostrarlo con escenas de El astrólogo fingido y La selva confusa. La conclusión traza el vínculo conceptual entre ambos acercamientos.
Palabras clave: Calderón, comedia cómica, gracia, teología, comicidad.

This study, first of a series, proposes to characterize the specific comic effect of Calderón’s comedies of intrigue through the concept of gracia. I analyze here two of the three meanings that this term has in Spanish, namely the relationship between the theological sense and the comic one. First, after setting Calderón in the theological debate on grace, I examine the allegory of this concept in his auto sacramental La hidalga del valle. Concerning the comic sense, I present a general outline of the different theatrical levels in which the gracia operates. Then, focusing on the dramaturgical level, this idea is demonstrated in scenes of El astrólogo fingido and La selva confusa. The conclusion draws the conceptual link of these two approaches.
Keywords: Calderón, comedy of intrigue, gracia, theology, comic.

What fun! Blogging the upcoming performance--of the play, that is--right here: https://pennpress.typepad.com/pennpresslog/2019/04/to-laugh-or-not-to-laugh.html
    **Performance Times have been Updated**
And LOL: this is NOT a double entendre but the name of one of my favorite plays from HOLY DEADLOCK!  How about taking medieval farcical misogyny and flipping it on its . . . derrière? David Beach, the same brilliant director who, in 2017, brought Cooch E. Whippet to the International Congress for Medieval Studies (Kalamazoo, MI), returns for an encore with one of my favorites, Husband Swap. Don’t miss opening night of Lofton Durham’s Mostly Medieval Theatre Festival (8 May 2019) or catch the Thursday matinée (9 May) at noon!

                Husband Swap (Le Trocheur de Maris)
                            Translated by Jody Enders
                                Directed by David Beach
                        Mostly Medieval Theatre Festival
                                      Kalamazoo, MI
                          Wednesday, 8 May 2019, 8 PM
                            Thursday, 9 May 2019, 12 PM

For three housewives—Cindy Lou, Charlotte, and Anna Nicole—the deficiencies of their respective spouses make for an extensive bill of particulars. Enter the Husband Trader, with quite the stock of merchandise. As he presents the ladies with specimen after specimen, they must come to a decision as to whether they prefer a newer model to the devils they know. To swap or not to swap? That is the question.

This postgraduate study examines the subject of female self-sacrifice in the ancient Greek tragedy. Specifically, the study examines the cases of four-character self-sacrifice, Alkistis’, Makaria’s, Iphigenia’s and Polyxeni’s, as presented in the tragedies Alcestis, Herakleidae, Iphigeneia in Aulis, , and Hecuba. The exploration of the ideas, the discourse and the action of the heroines lead to conclusions relating to wider issues of representation of the female sex in ancient tragedy and to the operation of the female form in dramatic poetry. The present study was based on the use of primary and secondary sources, namely the analysis and interpretation of the four tragedies in the original language and the study of relevant scientific bibliography and articles by Greek and foreign critics dealing with issues concerning on the representation of the female sex and its relation to the male sex in the ancient Greek tragedy.

This essay discusses the emergence and signification of the unique archival collection, the Uno Collection of Plays by Asian American Women, housed at the W.E.B. DuBois Library at the University of Massachusetts at Amherst. This archive was envisioned and established by Roberta Uno, the founder of New WORLD Theater, a theater for, by, and about people of color.

Working with the phrase "management of race," I consider how a project like New WORLD Theater is situated within and without reparative racial policies and practices in American theater in the last three decades of the twentieth century. I articulate the task of dealing with the “problems” posed by the topic of race and the presence of racialized bodies in the institution of theater here as “managing race” to point to the limits of policies and initiatives that sought to reconcile the ever-shifting grounds of race in the US, treating race as problem that can indeed be reconciled.

I argue that New WORLD Theater's approach to race in American theater challenges "the management of race" practiced broadly in American Theater. The creative experiment of New WORLD Theater had a more critical approach, one that confronts the fundamental and profound erasure of racialized peoples in American theater. At the same time, it also acknowledged the impossibility of a complete confrontation and salvation.

Seconda edizione corretta e aggiornata del libro "I teatri di Pasolini" (2005).
In questo libro l’autore propone un rovesciamento ‘copernicano’ dell’approccio al teatro di Pasolini. Se finora si è sottolineata maggiormente la dimensione letteraria delle tragedie di Pasolini, quasi negando una loro teatralità, e se anzi si è sempre parlato del loro autore come di un poeta lontano dal mondo del teatro, in questo lavoro emergono le numerose tracce di una “vocazione teatrale” che attraversa l’intera vita e l’intera opera di Pasolini, e che arriva a piantare saldamente l’arte e il pensiero di questo autore al centro della storia del nuovo teatro degli anni ’40/70. Ecco, dunque, “i teatri di Pasolini”, al plurale, come plurale è stato il suo impegno in questo linguaggio artistico, che si è evoluto affiancando le più significative realtà del suo tempo. Al plurale anche perché il libro affronta non solo i testi e le esperienze teatrali di Pasolini (con particolari spesso inediti o poco conosciuti della sua vita e della sua opera), ma indaga i segni del teatro anche nella poesia, nella prosa, nel cinema, nella saggistica, nella pubblicistica e in tutti i campi toccati da Pasolini.

Δημήτρης ΤΣΑΤΣΟΥΛΗΣ Η Ιουλιέτα, τα τοπία του αυταρχισμού και η ουτοπία των λέξεων Δράττομαι της ευκαιρίας που δίνει η θεματική του Συνεδρίου για να αναφερθώ σε έργο ενός μάλλον παραμελημένου ερευνητικά σύγχρονου συγγραφέα μας ο οποίος, καθώς αποχώρησε νωρίς, δεν είναι σε θέση να απασχολεί την επικαιρότητα. Ωστόσο, θα έλεγα ότι το συγκεκριμένο τουλάχιστον κείμενό του προσφέρεται για τολμηρά σκηνοθετικά ανεβάσματα σε μεγάλους φεστιβαλικούς χώρους, παρόλο που έχει θαρραλέα ανεβαστεί στο Θέατρο Σημείο από τον Νίκο Διαμαντή πριν 15 χρόνια. 1 Ο πρόωρα χαμένος ποιητής, σεναριογράφος και θεατρικός συγγραφέας, Στέλιος Λύτρας, γεννήθηκε το 1953 και πέθανε στα σαράντα του χρόνια, το 1993. Εμφανίζεται στο θέατρο το 1984 με το έργο, Άσμα Ασμάτων, 2 που τιμάται με το κρατικό βραβείο πρωτοεμφανιζόμενου συγγραφέα. Ακολουθούν τα έργα: Οι θλιμμένες σιωπές του ποταμού Οκαβάνγκο, 3 Ο κήπος των χωρισμένων εραστών, 4 1 Στέλιος Λύτρας, Ιουλιέτα των Μάκιντος, σκηνοθεσία: Νίκος Διαμαντής, σκηνικά-κοστούμια: Φλώρα Κουτσουμάνη, μουσική επιμέλεια: Νίκος Διαμαντής. Έπαιξαν: Δημήτρης Αγοράς, Γεράσιμος Δεστούνης, Αλέξανδρος Καμαρινέας, Γιώργος Κώνστας, Ιωάννα Μακρή, Γιώργος Σπανόπουλος, Κωνσταντίνα Χαραλαμποπούλου. Θέατρο Σημείο, 2000. Κυκλοφόρησε την ίδια χρονιά από τις εκδόσεις Δωδώνη. 2 Κρατικό Βραβείο πρωτοεμφανιζόμενου συγγραφέα, 1984. Ανεβάστηκε από τον θίασο «Καθρέφτης» στο Θέατρο Οδού Αντιοχείας σε σκηνοθεσία Πέπης Οικονομοπούλου, την περίοδο 1985-86. 3 Δημοσιεύτηκε στο περιοδικό Εκκύκλημα, το 1989. Παρουσιάστηκε στο Θέατρο Μάσκες του Γιώργη Χριστοφιλάκη τον ίδιο χρόνο, σε σκηνοθεσία του συγγραφέα. Δάφνη 5 και, το 1992, έχοντας, ήδη, διατελέσει πρόξενος της Ελλάδας στη Βενετία, η Ιουλιέτα των Μάκιντος, στο οποίο θα επικεντρωθώ στη συνέχεια. Έργο που, μια εικοσαετία μετά, αναδεικνύεται πρωτοποριακό παραστασιακά και ακόμα πιο επίκαιρο θεματικά, αφού θέτει στο στόχαστρο τους παντός είδους αυταρχισμούς που, υπό το κάλυμμα της δημοκρατικής λειτουργίας των θεσμών και το πρόσχημα της τρομοκρατίας, στερούν από τον πολίτη τις βασικότερες ατομικές του ελευθερίες, την παραγωγική σκέψη και τη δημιουργικότητα, οδηγώντας τον στην πλήρη του απανθρωποποίηση. Ο τίτλος του έργου συμφύρει υποδειγματικά δύο πεδία-τόπους που αποτελούν τις θεματικές, αλλά και δραματικές συνιστώσες του έργου: εκείνο του διακειμένου του, του σαιξπηρικού Ρωμαίος και Ιουλιέτα, και εκείνο της σύγχρονης ηλεκτρονικής εποχής, των ηλεκτρονικών υπολογιστών Μάκιντος. Πρόκειται για δύο δραματικούς χώρους εκ των οποίων ο πρώτος προσδιορίζει την ουτοπική αναζήτηση ενός παρελθόντος ελευθερίας, συναισθημάτων και πολιτισμικών αγαθών που εμφανίζεται μόνον λεκτικά, ενώ ο δεύτερος συνιστά τον πραγματικό τόπο όπου διαδραματίζεται η υπόθεση, αναπαριστώμενος σκηνικά με πλήθος από οθόνες ηλεκτρονικών υπολογιστών, 6 που πίσω τους δουλεύουν ή ψυχαγωγούνται πραγμοποιημένοι 4 Ανεβάστηκε στο Κρατικό Θέατρο Βορείου Ελλάδος, σε σκηνοθεσία Νίκου Αρμάου, την περίοδο 1989-90. 5 Ανεβάστηκε στο Θέατρο της Οδού Αντιοχείας από τον θίασο «Καθρέφτης», σε σκηνοθεσία Πέπης Οικονομοπούλου, το 1992. 6 «Το πλαστικό και εικαστικό περιβάλλον που το σύμπαν του προτείνει [...] μοιάζει να έχει μια μεταβιομηχανική φουτουριστική λογική η οποία, χωρίς να δαιμονοποιεί την τεχνολογία, τη χρησιμοποιεί για να ορίσει το μέλλον [...] Και αντιθέτει, τοποθετώντας στο κέντρο των μηχανών, των μηχανημάτων και της ταχύτητας, την απόγνωση, την ερημιά και τη μοναξιά», Νίκος Διαμαντής, «Το