Power is the main theme of the play _Bang_, which polish premiered in 2019 and took place at the New Theater of Kazimierz Dejmek in Łódź. The play was directed based on the drama of the same title, written by the contemporary German author and playwright Marius von Mayenburg. The aim of the article is to analyze and describe the means by which the viewer has the opportunity to understand why the theme of power is highlighted against the background (...) of others presented in the play and to answer the question of what is the reason for the main character Ralf Bang’s desire to exercise power even before his own birth. (shrink)

English title: Józef Tischner’s Phenomenology of Boundary Experience. Author of the paper distinguishes four paradigms of phenomenological analysis one can indicate in Tischner’s philosophical writing. Each of these paradigms captures the issue of the genuine source of phenomenological experience. This genuine source can be provided with: transcendental ‘I’, axiological ‘I’, Dasein, or the relationship to another man. By developing the latter, i.e. the paradigm based on the experience of meeting (dialogue), Tischner makes the foundations for his Philosophy of Drama (in (...) Polish: Filozofia dramatu) which should be interpreted, as Piecuch argues, in terms of the possible ways to conduct phenomenological analysis. The peculiarity of this way is that it aims at grasping various aspects of the border experience in which a man experiences the limits of one’s own thinking, activity and sensing. (shrink)

Józef Tischner, a Polish twentieth century priest and philosopher, is mostly known for his ideas relating to the theme of solidarity, as well as for his original ‘philosophy of drama’. This article examines selected aspects of his early philosophy, without which those two major contributions cannot be properly understood. I begin by a brief synopsis of three thinkers which have exerted major influence on Tischner – Edmund Husserl, Max Scheler, and Roman Ingarden. I then proceed to recount Tischner’s own (...) early philosophy as an investigation of human self-awareness, showing how several ideas (such as ‘solidarization’) contribute to Tischner’s later thought. Finally, I offer a brief critical remark to Tischner’s work – namely, whether it is possible to argue for an ultimately axiological constitution of self-awareness, without taking a stance on the question related to the nature and existence of values. (shrink)

It should be clear that Lyell's scientific contemporaries would hardly have agreed with Robert Munro's remark that Antiquity of Man created a full-fledged discipline. Only later historians have judged the work a synthesis; those closer to the discoveries and events saw it as a compilation — perhaps a “capital compilation,”95 but a compilation none the less. Its heterogeneity made it difficult to judge as a unity, and most reviewers, like Forbes, concentrated on the first part of Lyell's trilogy. The chapters (...) on glaciation were admired by Lyell's friends but had relatively little appeal to more general readers. His discussion of the species question hedged far too much to please those who accepted the cogency of Darwin's evidence and arguments. This last section of the book blatantly lacks originality or commitment and certainly has no claim to classical status in anthropology.We are left, then, with the first twelve chapters, for it was this portion that dictated the book's title and that amassed the available evidence favoring the antiquity of the human species. Did it do anything more than marshall the evidence that others had discovered? I think not. Lyell could write with style and verve. Principles of Geology is a remarkably readable book. But Antiquity is the work of a geologist, not of a systematic student of man. Despite its occasional touches of power, it never captures the freshness and immediacy of Lubbock's Pre-historic Times nor the theoretical brilliance of E. B. Tylor's Researches into the Early History of Mankind (1865).96 Antiquity utilizes little of the comparative method whereby Lyell's contemporaries used data from modern “savagery” to elaborate the possible social functions of the prehistoric remains being uncovered. It contains little social theory and has virtually no integrated framework. Even the first twelve chapters do not really hang together. As Hooker, commenting to Darwin on Lubbock's review, sadly wrote: “Lubbock in [the] N[atural] H[istory] Review, had in a note called attention to Lyell's ... ‘doing injustice’ to Prestwich & Falconer. I modified this expression ‘injustice’ in Lubbock's paper (which was friendly and apologetic). I am deeply sorry for it, but what can one do? I do think Lyell's first XII chapters a complete mess.”97 In another letter to Darwin, Hooker described this first portion of Antiquity as “confused and confusing.”98Part of the problem, of course, lay in the subject's novelty for Lyell and for most of his contemporaries. At a deeper level, however, I believe that the book accurately reflects Lyell's uncertainties about Darwin's work and its implications for man.99 Leonard Wilson's edition of Lyell's Scientific Journals provides a unique insight into Lyell's mind during the years just before he began to write Antiquity.100 Preoccupied with the human implications of evolutionary biology, Lyell was not clear how many of those implications were compatible with his deep convictions about the dignity of man's place in the cosmos. With a certain naiveté, Lyell complained in 1873 that many of his readers had failed to see the “natural connections” among the three portions of Antiquity.101 Connections could indeed be drawn between man's antiquity and his evolutionary origins; Lyell's private Scientific Journals movingly demonstrate that he was well aware of this fact. But he never fully made the connections in his published writings. Antiquity of Man is more appropriately seen as the last gasp of the heroic period in British geology than as the opening salvo in a new, post-Darwinian anthropological synthesis. Between the founding of the Geological Society of London in 1807 and the middle of the nineteenth century, geology was recognized as one of the most exciting and innovative scientific fields in Britain.102 Lyell himself had contributed much to that drama, and by the 1860's he was a public figure of venerable proportions. More then any other man he represented a geology that had extended the boundaries of process, time, and life. The fundamental achievements of Lyell and his colleagues had been assimilated into the wider Victorian consciousness, yet the earlier public debates about “genesis and geology” had left untouched in its essentials the concept of Man as a moral, responsible, created being.103Lyell never abandoned this view of his own species, and in 1863 it was a completely responsible creature which, under the weight of empirical evidence, Lyell admitted had lived on earth far longer than had previously been thought. Certainly this more generous allowance for human existence was constitutive to what Burrow calls the evolutionary social theory of midcentury Britain.104 Unlike Lyell, the younger representatives of this anthropology quietly accepted both man's antiquity and his aboriginal animality. Herbert Spencer's Principles of Psychology (1855), as well as the other volumes of his grand Synthetic Philosophy, presented as part of the cosmic process the development of human from prehuman beings.105 Tylor's discussion of what in his Researches (1865) he called the “gesture-language” presupposed the gradual and de novo origin of language in early human populations.106 Lubbock's young and polished mind was untroubled by the human implications of Darwin's work, and he cast his Prehistoric Times into such a perfect mold that it and its companionpiece (On the Origin of Civilization, 1870) went through seven editions each between 1865 and World War I, with their original theoretical structures intact. In a way that Lyell could not grasp, Lubbock was intrigued by questions concerning the origins of moral and religious beliefs and did not flinch at the thought of an amoral, atheistic creature as an ancestor.107 Indeed, as the German naturalist Carl Vogt pointed out in his Lectures on Man, translated into English the year after Antiquity, both Darwin's theories and the primitive flint knives of the Stone Age bore witness to a time beyond that imaginable from the condition of the lowest present-day “savage”:From such a low condition [little better than anthropomorphous apes], compared to which that of the so-called savages of the old and new world is a refined civilisation, has the human species gradually extricated itself, in a bitter struggle for existence, which it was well able to maintain, by being gifted with a larger amount of brain and intelligence than that possessed by the surrounding animal world.108The easy integration of biological and social themes was perhaps the distinguishing hallmark of Victorian anthropology of the 1850's and 1860's. After his fashion, Lyell got both themes into Antiquity, but he carefully separated them with a seven-chapter wall of glacial ice. Lyell's anthropology was not that of a thoroughgoing evolutionist like Lubbock, Tylor, or Spencer. For Lyell prehistoric man was not a product of biological evolution. Rude and superstitious he may have been, but he possessed ritual and a belief in a future state, and thus deserved “the epithet of ‘noble,’ which Dryden gave to what he seems to have pictured to himself as the primitive condition of our race: as Nature first made man/when wild in woods the noble savage ran.”109As a systematic argument, Lyell's book was at best a significant failure. As a popularization, it was a success — largely because of the personal stature of its author and the particular moment of its appearance. It helped establish the fact of man's antiquity with a wider Victorian audience, in itself no mean achievement. But Lyell was unable to exploit the fuller implications of his material in the service of a secular science of man. Ironically, he exploited only his colleagues' discoveries. Though the aging Lyell, with failing eyesight but unfailing mental powers, can still be seen as a man of considerable importance, his Antiquity belongs to the carefully circumscribed world of British geology rather than to the less disciplined world of Victorian anthropology. (shrink)

A comprehensive work that would be focused on the moral dilemmas of the pharmacists has not been published yet. The pharmacist profession is commonly perceived as an occupation associated with such virtues as calmness, precision and accuracy. However, there is a lack of knowledge on the moral dilemmas the pharmacist contends with. One of the reasons lies in the fact that some citizens of our country, especially the younger generation, do not recognise the difference between the profession of pharmacist and (...) the profession of salesperson. On the other hand, as M. Brazier indicates, the majority of scientific works are almost exclusively concentrated on the ethical dilemmas of ‘high drama’ and ‘low incidence’. In that context the work of pharmacist appears to be imbued with the ‘small dramas’ taking place every day. Therefore, it seems to be necessary to point out what duties or conflicts of values the Polish pharmacist faces and to make an attempt to find appropriate ways to solve them. (shrink)

Before approaching the problem of „The Torment of Christ in Polish Carmelitan Poetry Manuscripts”, it was necessary, specifically for the purpose of this work, to consider the problem of the beginning passion of Christ in Polish poetry in the 13th century. The sources creative invention, as in art and literature in the Middle Ages is evangelical dramatic torment of Christ. This subject presents mediaeval liturgical dramas, passion’s mysteries, meditations, saint biographies, legends, etc. The inspiration for literature is dolorysm (...) and a picture of pieta. In mediaeval Polish literature are very alive characteristics of passion’s motifs: meditation, compassion and imitation torment of Christ. Such a popular subject in the Middle Ages, the torment of Christ was also present in a rich array of literature in the 17th century. This article deals how the problem of the torment of Christ was visible in Polish carmelitan poetry manuscripts from 17th and 18th centuries. These carmelitan manuscript texts, which I research in this work, are contained in the Library of Jagiellonia and they have signatures: 3640 and 3642. The article also shows the influence of mysticism of St. Teresa of Avila and of St. John of the Cross in these manuscripts, but shows as well the original conception of Cracow’s anonymous poets from the 17th century. This work particularly presents the personal experiences of Cracow’s carmelitans (dialogue with God, the love to Him, a need of suffering how Christ and the need of death). This article shows not only carmelitan literary ingeniousness, but also a personal metaphysical and mystical way to the soul of God. (shrink)

Emerging from the atrocities of war, and still hoping to avert the results of the Yalta conference during which the countries of Central and South–Eastern Europe, including Poland, were “handed over” to Stalin, Poland’s 1947 Shakespeare theatre festival was a sign of courage and defiance. At the Festival 23 productions of 9 Shakespeare’s dramas were staged by theatres in 11 towns, with its finale in Warsaw. My paper will show that the Festival was an attempt to demonstrate both Polish (...) cultural links with Europe, and to subvert Marxist ideology and Soviet culture. (shrink)

The story of Abraham and Isaac belongs to the plots frequently recurring in the school drama of sixteenth century Europe. Two related texts are related in the article: Theodore de Bčze’s drama with the title Abraham sacrificanl (staged in Lausanne in 1550) and an anonymous Polish text dating from the end of the sixteenth century Ofiarowanie Izaaka [The Sacrifice of Isaac]. Both the dramas begin with the Prologue, heralding the main events of the story. The works share a three-part, (...) biblical structure (Ofiarowanie Izaaka is composed of three acts), the motif of a father’s love for his son, Abraham’s and Sarah’s care for their son, Abraham’s perplexity and finally the ending, where an angel, a pre-figuration of Christ, appears. The main differences lie in the way in which the protagonists have been grouped - the amusing characters of, among others, Achne, the servant, enrich the play with comical, realistic elements. The similarities between the two texts result not only from their chronology, the common repertoire of school theatres, and the cosmopolitan character of school education. The congruence (despite some apparent differences between the staging possibilities of Lausanne and Cracow) confirms a close relationship between Polish Renaissance drama and the culture of Western Europe and emphasizes its creative character in the presentation of Biblical plots, extending beyond the Bible. (shrink)

RADIO ADAPTATION OF THE PLATO’S DIALOGUES’ TRANSLATED BY W. WITWICKI AND ITS RECEPTION AT H. JAKUBANIS’ PHILOSOPHICAL SEMINAR IN THE CATHOLIC UNIVERSITY OF LUBLIN S u m m a r y The paper presents a little-known episode in the reception of Plato’s dialogues in Polish culture in the interwar period, namely the radio adaptation of the dialogues. The adaptation was based on four dialogues: Euthyphro, Apology, Crito, Phaedo, all of them translated by WMadysMaw Witwicki. This radio drama was very (...) popular and was broadcasted several times. Its popularity followed the fact that the forefront of the Polish actors interpreted the outstanding Polish texts delivered by Witwicki. The paper presents the reception of the four mentioned above dialogues by the professional readers, philologists and the classic languages’ teachers. The radio drama constitutes entirely separate field of the influence of Plato’s works. Radio made Plato’s Socrates accessible to the unprofessional wide audience. There was, however, a peculiar case of reception of the radio drama among the listeners. It was applied for the didactic purposes by Henryk Jakubanis at his philosophical seminar which was carried in the interwar period in the Catholic University of Lublin. (shrink)

This publication aims to familiarize Polish Language teachers with various issues connected with the Theatrical Education in Schools. Part 1 is an attempt to define the set role of a School Theatre Supervisor (what should be emphasized here is that the teacher’s knowledge of the subject, set designing skill, and also acting and directing skill and his/her knowledge of the pupil’s psyche at different stages in the development of an young man). Part 2 deals with the Theatrical Education as (...) a part o f Polish language lessons, set in the early 21" century Polish reality (extracts from interesting theatre lessons, dramatic elements in the lesson, activities in the theatre lessons and theatre-journalism classes). Part 3 is a proposition of how to organize work in the school drama theatre (a suggestion on practice and methodology exposing various advantages gained through the school theatre activities). (shrink)

In this essay, I argue that Derrida cannot pursue the question of being/following unless he thinks through the question of sexual difference posed by figures of little girls in philosophical texts and in literature, specifically as posed by Lewis Carroll's Alice whom Derrida references in L'animal que donc je suis. At stake in thinking being after animals after Alice is the thought of an other than fraternal following, a way of being-with and inheriting from (other than human) others that calls (...) for an account of development that is not dictated by a normative autotelic and sacrificial logic. I argue that Derrida's dissociation of himself and his cat from Alice and her cat(s) in L'animal que donc je suis causes him to risk repeating the closed, teleological gestures philosophers like Kant and Hegel perpetuate in their accounts of human development. The more sweeping conclusion towards which this essay points is the claim that the domestication of girls and their subjection to familial fates in narratives and the reduction of development to teleology more generally, require the sacrifice and forgetting of ‘nature’, including animals, so that the fates of girls and ‘nature’ are intertwined in the context of projects of human world-building and home-making. (shrink)

Given Aristotle’s response to Plato’s views by positing a cathartic function for tragedy, it is understandable that an author opposing him through the development of a non-Aristotelian theatrical theory would spontaneously draw closer to Platonic thought. However, Brecht’s stance goes beyond this spontaneous proximity in this debate. This article challenges those critics who have overlooked the direct relationship between Plato and Brecht, and it offers a reasoned decision on Walter Benjamin’s verdict that epic theatre is a form of Platonic drama. (...) Moreover, it argues that Brecht’s endeavour aimed to create a theatre that remained impervious to Plato’s critiques. The article analyzes Brecht’s achievements in epic theatre as an expression of disenchantment, demonstrating how, through the techniques he developed, he radically dismantled the magical effect that was essential to Aristotelian theatre. (shrink)

A fashionable approach to the interpretation of Athenian drama concentrates on its context in performance at Athenian festivals, and sees both the festivals and the plays as products of the Athenian democracy. In this paper it is argued that, whereas the institutional setting inevitably took a particular form in democratic Athens, that was an Athenian version of institutions found more generally in the Greek world, and even in the Athenian version many features do not seem distinctively democratic. Similarly in the (...) interpretation of particular plays themes have often been said to be democratic which are better seen as concerns of polis-dwelling Greeks in general, and the notion that plays questioned Athens' democratic values because the democratic ethos of Athens consciously encouraged the questioning of Athens' democratic values is far from certain. (shrink)

Over the past decade, sexual rumor spreading, slut-shaming, and homophobic labeling have become central examples of bullying among young women. This article examines the role these practices— what adults increasingly call “bullying” and what girls often call “drama”— play in girls’ gendering processes. Through interviews with 54 class and racially diverse late adolescent girls, I explore the content and functions of “sexual drama.” All participants had experiences with this kind of conflict, and nearly a third had been the subject of (...) other girls’ rumors about their own sexual actions and/or orientations. Their accounts indicate that sexual drama offers girls a socially acceptable site for making claims to, and sense of, gendered sexuality in adolescence. While they reproduce inequality through these practices, sexual drama is also a resource for girls—one that is made useful through the institutional constraints of their high schools, which reinforce traditional gender norms and limit sexuality information. (shrink)

Plato’s Republic is governed by an analogy drawn between the structures of cities and souls. Because the inner workings of souls are difficult to discern, we might better find the soul’s nature and virtues by looking at the city’s nature and virtues. Despite successfully using the analogy to discern the nature of the soul, its virtues, and its proper ordering, the Republic frequently obscures the very analogy that functions as its guiding thread, and it is not at all obvious whether (...) the political material in Books V–VII has a psychological correlate. This essay develops a psychological reading of key moments in the dialogue where the city-soul analogy fades in favor of more apparently political content. Focusing on the Allegory of the Cave, it argues that when the Cave is read as a “psychic drama,” it discloses reason’s drama within the soul. Like the freed prisoner, reason must be liberated from imprisonment alongside the sub-rational elements of the soul so that it may see the truth by which it can be nourished. However, reason must also descend, like the prisoner, to the sub-rational elements of the soul in order to care for them, for its own sake and for theirs. Read this way, the Republic presents an account of reason which rules the passions in the “precise sense” of Book I, that is, for their sake, and not simply for its own liberation and well-being. (shrink)

While Shakespeare's historical and political imagination mainly centres on the traditional character of the stranger or exile, The Merchant of Venice and Othello stand out as dramas about a new figure, the absolute stranger. The absolute stranger belongs to a new situation Shakespeare found in cosmopolitan Venice. Through Shylock and Othello, Shakespeare encounters the drama of the outsider's failed assimilation into cosmopolitan life. For Shakespeare, the figure of the absolute stranger is a representative illusion, and these two plays are dramas (...) about the modern world. (shrink)

Rhetoricians usually consider Plato's Republic as a work dedicated to political philosophy. As such, it is ostensibly antidemocratic and thus antirhetorical. But if we focus on the reason for the political allegory—the investigation of justice in the soul—it is clear that Plato is interested in Burke's question: “What is involved, when we say what people are doing and why they are doing it?” Accordingly, this article employs the terms of Burke's pentad in order to articulate the rhetorical significance of Plato's (...) own drama of psychic motivation. Ultimately, I read the degenerating constitutions of the Republic as a rhetorical typography that not only identifies audience types and how to influence them, but also offers a map of psychic transformation that addresses Socrates's famous challenge to rhetoric in the Phaedrus. (shrink)

J. L. Moreno (1889–1974), the founder of psychodrama, argued against legitimate theater, asserting it is a “rigid drama conserve,”1 a finished product of the preceding creative process. In particular, Moreno protested against the centripetal manner in which actors of legitimate theater assimilate a role from a written play: an external material, the written play, assimilates into the center, the actor. Moreno viewed such process as an imposition, for it is “not genuinely creative, but re-creative.”2 In line with this notion, Moreno (...) decisively distinguished between the rehearsed art of “dramaturgy” and the extemporaneous art of “creaturgy.”3 Moreno also dissented with the scarcity of spontaneity in Stanislavsky’s .. (shrink)

An axiological analysis of the basis of the 1997 Constitution of the Republic of Poland, determined mainly in the Preamble, makes it possible to put forward a thesis that this axiology is not, at least in reference to the principle, eclectic. In respect of the meta-axiological settlements, this is a tradition of natural-law type, recognizing the objective grounding of values and law. The accepted solutions are also convergent with the axiology typical of the international protection of human rights. -/- Résumé (...) L’analyse des fondements axiologiques de la Constitution polonaise de 1997, inscrits avant tout dans le préambule, permet de formuler la thèse selon laquelle cette axiologie n’est pas, en principe, éclectique. La réflexion sur les valeurs s’inscrit dans la vision classique des fondements du droit, remontant à l’antiquité. Partant de là, se dégage une tradition juridique appuyée sur le droit naturel, reconnaissant la force objective des valeurs et du droit. Ces conclusions rejoignent l’axiologie classique de la protection internationale des droits de l’Homme. -/- Zusammenfassung Die Analyse der vor allem durch die Präambel definierten axiologischen Grundlagen der Verfassung der Republik Polen von 1997 ermöglicht die Aufstellung der These, dass diese Axiologie nicht eklektisch ist, zumindest nicht prinzipiell. Hier enthüllt sich ein Denken von den Werten, das sich in die klassische, bis in die Antike zurückreichende Reflexion über die Grundlagen des Rechts einfügt. Wegen der metaaxiologischen Entscheidungen ist das eine Tradition naturrechtlichen Typs, die die objektive Begründung der Werte und des Rechts anerkennt. Die angenommenen Lösungen stimmen auch mit der für den internationalen Schutz der Menschenrechte typischen Axiologie überein. (shrink)

The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and (...) technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech. (shrink)

In God and Mystery in Words David Brown uses the way in which poetry and drama have in the past opened people to the possibility of religious experience as a launch pad for advocating less wooden approaches to Christian worship today. So far from encouraging imagination and exploration, hymns and sermons now more commonly merely consolidate belief. Again, contemporary liturgy in both its music and its ceremonial fails to take seriously either current dramatic theory or the sociology of ritual. Yet (...) this was not always so. Imagery and hymns mattered, liturgial msic encouraged a sense of drama, sermons required rhetoric. In a characteristically stimulatling and inspiringly expansive study, that ranges from ancient Greek drama to modern poetry, from the meaning of the Logos to the history of vestments, David Brown pleads for a much wider focus on the kind of factors that aid experience of God. (shrink)

The cinema of the Dardenne brothers represents a new kind of cinema, one that challenges a number of our conventional ways of thinking about the distinction between religion and secularism, belief and unbelief. Their films explore the intricacies of spiritual and ethical transformations as they are experienced within embodied, material life. These features of their cinema will be examined primarily through the lens of Emmanuel Levinas’s philosophy of the imbrication of the drama of existence and the ethical intrigue of self (...) and Other. The work of the Dardenne brothers can be understood as an attempt to express what I describe as a “faith without faith”—a recognition of the absolute centrality of belief for the development of a responsible subject but in the absence of a traditional faith in a personal deity. (shrink)

This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, (...) helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them. (shrink)

Dance is an art of human movements, and it is an art form that takes refined, organized and artistically processed human movements as the main means of expression, expresses people's thoughts and feelings, and reflects social life. Humans not only transfer knowledge by means of dance, but also communicate with heaven and earth and soothe the soul by means of dance. Dance drama, an art form, is more and more popular among the masses. With the development of the times and (...) science and technology, dance drama forms are constantly bringing forth the new. On the basis of the ancient stage art, it glows with new splendor and enriches the treasure house of human spirit and culture. During the development of history and culture, both religious culture and dance culture have tenacious vitality, and are constantly developing and evolving. The two are inextricably linked, interacting and influencing each other. This paper studies the relationship between dance and religion, trying to learn from historical experience, analyze the relationship between dance and religion, solve the problems in the creation of dance drama, provide theoretical basis for the development of dance drama, and promote the vigorous development of dance art. (shrink)

Man suffers from a very particular fate, namely that of being besieged by questions which he cannot answer and cannot ignore either. The ability to pose questions like these is a key characteristic of the fundamental existential situation of mankind. Every person must find his or her own particular method of coping with such questions. This makes up a significant part of the human maturing process. People with dementia, having already found their personal solution to cope with the problem of (...) these unanswerable questions, radically stumble into this existential situation once again. The problem of this repetition is that the people with dementia can only make limited use, if indeed any use at all, of their previously successful biographical strategies. The drama of human existence as such thus repeats itself within a person with dementia. We must recognise the seriousness of this task. We thus must support people with dementia in coping existentially with this renewed task in the best possible way. The existential dignity of this task is no different from that of a young person. This insight is very important for the care of patients: people with dementia should be recognised as a people in an existential situation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Master" versus "Servant":Contradictions in Drama and Theatre EducationShifra Schonmann (bio)Mr Jourdain: You mean to say that when I say "Nicole, fetch me my slippers" or "Give me my night-cap" that's prose?Philosopher: Certainly, sir.Mr Jourdain: Well, my goodness! Here I've been talking prose for the last forty years and never known it, and mighty grateful I am to you for telling me!—Molière, Le Bourgeois Gentilhomme1My basic claim is that our (...) young field—drama and theatre education—feels old. Are we being stifled by applied drama and theatre, so that it has put real obstacles in the way of broadening the horizons of the field? I know that by asking this question I risk setting myself up as a living target for all those who maintain that applied theatre is the "hot" and the appropriate concept in the field. For more than twenty-five years now, we have been working with our students in teacher education departments and with children in schools in the manner of applied drama and theatre, but we have named it differently. It is as if we had been speaking the language of applied drama and theatre for twenty-five years—and we did not know that this was the case. (It reminds me of Moliere's Monsieur Jourdain who suddenly discovers that he has been speaking prose for the past forty years.) I would like to make it very clear from the outset that my claim is not against applied drama and theatre; it is a claim for another proportion (balance) between the instrumental function and the artistic-aesthetic function of our drama and theatre work in education.Is this a new claim? Not at all. But in the midst of our intensive endeavors in the field, it strikes me again and again that we have been running after our own tails, doing almost the same things over the past twenty-five [End Page 31] years. I have tried to understand why we are wandering around, surrounded by the same basic circles and experiencing a feeling of déjà-vu. What, really, is our problem? As a result of asking myself these questions, I began to analyze programs of the major conferences of the last ten years in drama and theatre education: Exeter (Researching Drama and Theatre in Education), AATE (American Alliance for Theatre and Education), IDEA (International Drama/Theatre and Education Association), and IDIERI (International Drama in Education Research Institute). These are considered to be the main international professional gatherings in the field (most of which I have attended). I have been looking into the headings that express the topics that were discussed. My data show that the majority of the topics were concerned with the by-products that drama and theatre can produce but not with the artistic and/or the aesthetic dimensions of the field. Sometimes I wonder if we fail to see the wood for the trees.In the Dictionary of Developmental Drama, written by Richard Courtney, an attempt was made to clarify the terms of drama used in a variety of practical fields.2 In this dictionary, we cannot find the applied theatre entry or process drama entry, but we can find entries such as developmental drama, drama in education, drama therapy, dramatic activity, educational drama, educational theatre, forum theatre, and many others. The terminology used among drama workers, leaders, and researchers is not precise. When drama educators and researchers meet, we engage in extensive discussion, often exchanging experiences and successful strategies. Quite some time can pass before we realize that our concepts of drama education differ considerably. These concepts range from completely spontaneous activities, such as improvisational exercises, to very carefully planned work, such as staging written scripts. Courtney's dictionary is the only one that I know that tries to define the basic concepts in our field: It is necessary but not adequate or up to date.In the "Drama Way" Project, a comprehensive work by Jouni Piekkari et al., coordinated by the University of Turku in Finland, I found a good attempt to set up a "mini" dictionary.3 The "Drama Way" Project identified a number of... (shrink)

C. S. Lewis called for spiritual formation long before the term became popular: “Every Christian is to become a little Christ. The whole purpose of becoming a Christian is simply nothing else”. Lewis's call to become little Christs recalls Paul's exhortation to “put off” the old self and “put on” Christ. This paper explores what this change of costume involves from the perspective of what a “theodramatic” approach to theology that I have developed in The Drama of Doctrine and Faith (...) Speaking Understanding. I there argue that the role of doctrine is to indicate what is in Christ and direct those in Christ to participate in Christ by playing their parts in the drama of redemption. This theatrical model raises an important issue concerning the disciple's self-understanding: Is it healthy for Christians to think in terms of “acting out” what is “in Christ” or does this encourage a false sense of self – a “put on”? I respond to this question in four steps where I present a theodramatic anthropology, describe discipleship as the project of growing into/putting on Christ, consider three objections to my previous work about the relationship between persons/roles and role-playing, and respond to the objections by offering a dogmatic description of putting on Christ in soteriological, pneumatological, and eschatological terms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Setting the Stage for a Dialogue:Aesthetics in Drama and Theatre EducationAlistair Martin-Smith (bio)For us, education signifies an initiation into new ways of seeing, hearing, feeling, moving. It signifies the nurture of a special kind of reflectiveness and expressiveness, a reaching out for meanings, a learning to learn.—Maxine Greene, Variations on a Blue Guitar1Examining the aesthetics of the complementary fields of educational drama and theatre is like looking through a (...) kaleidoscope. If you turn it one way, you see one colorful pattern; if you turn it the other way, you see yet another. The multiplicity of approaches to drama and theatre education, each with its own aesthetic pattern, often obscures the common ground they all share. As a result, in its unique emphasis on art, pedagogy, and society, each may have its own aesthetic pattern; yet only by looking closely at each distinct pattern can we understand more of the power of drama and theatre to develop human consciousness.In Western education, aesthetic learning seems incidental to the assessment of learning. How did this happen? For Descartes, whose Cartesian philosophy dissociated mind from body, aesthetic feelings are irrational, since they originate in the body's senses rather than in the mind. Theories of education focused on the primacy of cognition, denying feelings in the erroneous belief that learning is independent of its context. Conversely, aesthetic education is concerned with the quality of experience, how it is felt. Dewey believed that "learning by doing" was a "consummatory" experience for the learner; it was dramatic, dialogic, and felt. The confusion between subjective and objective aspects of the aesthetic experience makes aesthetic evaluation difficult, and this may be why cognitively dominated education has steered clear of aesthetics. Richard Courtney recognized that there is an important distinction to be made between aesthetic symbols and [End Page 3] artistic symbols: "Aesthetic symbols emphasize feeling; artistic symbols are context-dependent—they only have meaning in the context of art."2David Best argues that "the failure to recognise the distinction between the aesthetic and the artistic contributes largely to the trivialisation of the potential of the arts in education."3 He points out that "... it may often be necessary to take into account, at least implicitly, wider factors... in order to judge whether [an] appraisal was aesthetic or artistic."4 What are these wider factors, and how can audiences attend to them? As Christopher Havell reminds us,There is increasing pressure on drama teachers to use their teaching expertise purely for the development of social and life-skills training. This instrumental work may, at times, closely resemble the drama process, but the intentions will be confined to an experience that simulates or resembles those "real-life situations" that it is expected students will encounter. The aesthetic search for the "universal" at the centre of the particular will not be a relevant aim in any vocational training! One can only hope that the emerging interest in the aesthetic nature of drama and its place in a coherent arts education will encourage teachers and students to reflect on the final inadequacy of any instrumental view.5I believe that it is through the power of aesthetic education that audiences for drama and theatre will come to appreciate the artistic.In Caravaggio's painting David with the Head of Goliath (1606-10), the viewer is confronted with three time periods simultaneously. In his depiction of David, Caravaggio paints the shepherd-king of the Old Testament who prefigures Christ, but he is also modeled on Caravaggio's lover. David holds the severed head of Goliath down low in such a way as to engage the private viewer rather than to evoke the public spectacle.6 As I understood that the head of Goliath was actually a self-portrait of the painter not long before his death, I experienced a moment of instantaneity that shocked me into a new awareness of my own mortality, my relation to life and death. As it is Caravaggio's last journey, so is it our own. While Caravaggio's penultimate painting is recognized in terms of its artistic achievement, the moment of self-recognition on the part of the... (shrink)

Commented article: LIU, Rong. Philosophical spirit in traditional Chinese drama. Trans/Form/Ação: Unesp journal of philosophy, Marília, v. 47, n. 4, “Eastern thought”, e0240063, 2024. Available at: https://revistas.marilia.unesp.br/index.php/transformacao/article/view/14667.

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It is (...) through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

In this essay, Mohammed Albakry discusses the notion of accommodating cultural differences in translation and the need to respect these differences without compromising or emphasizing them. First, Albakry reflects on translation as an act of interpretation in light of Terence's famous saying “nothing human can be foreign to me.” Second, he comments on the place of drama in translation and translation studies in order to contextualize his project — translating a number of critically acclaimed contemporary Egyptian plays. He then reviews (...) and critiques the binary model of foreignization/domestication, drawing on some concrete examples of the cultural challenges of translating Arabic drama for the American stage. Albakry concludes by conceptualizing an alternative translational space of dialogical encounters between the human/familiar and the foreign in translation, and by considering the relevance of the Terentian maxim to the negotiation of maintaining sameness while preserving difference. (shrink)

Ritual and Myth in the International Corona-Drama. A Conversation with Jeffrey Alexander.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 119-131 [Access article in PDF] New Stages: Challenges for Teaching the Aesthetics of Drama Online Michael Anderson Introduction The history of drama education can be read as a series of arguments over dichotomies: process and product, theatre and classroom, artist and teacher, and so forth.1 One of the more recent discussions has focused on technology versus live classroom drama.2 At the heart (...) of these discussions is an attempt to define the aesthetic dimensions of the subject. In one sense, these are fruitful discussions to have as they reflect the dynamism of a live art form in schools. There seems, however, to be a tendency for these debates to entrench themselves into ideological positions. In this paper, I would like to promote the idea that we do not have to develop oppositions or dichotomies before finding that the middle ground provides the richest experiences for drama students. I would like to propose that we see these emerging technologies as providing yet other (albeit different) stages upon which the drama aesthetic can be played.3 Aesthetics and Drama Education Drama education has had an uneasy and often contentious relationship with discussions around aesthetics. Often the drama education community has split along two lines—those who value process and those who value product.4 Work by drama educators such as Judith McLean has demonstrated the centrality of the understanding of the aesthetic and the importance of putting an aesthetic understanding at the center of teaching and learning in drama.5 Her development of an Aesthetic Framework provides teachers with an approach for understanding the position of aesthetics within drama teaching and learning that bypasses the fruitless dichotomies [End Page 119] of process versus product. As most now agree, the drama classroom has a place for both process and product.6 In both, we can find important aesthetic features of drama education. The Challenge of Emerging Technologies and Drama Education Having weathered the dichotomies of the past, there are now fresh challenges to the understanding of drama and aesthetics. The prevalence of and pressure for integration of new technologies in the drama classroom are also challenging drama educators to incorporate technology within the drama aesthetic. The ubiquity of technology that relates to drama education is facing teachers with serious challenges to engage with a dramatic aesthetic in classrooms. Perhaps the most stunning challenge is the exposure and experience twenty-first-century children have to rapidly changing technologies. As Morris explains, students are exposed to more drama in settings other than classrooms and theatres: For most Australian children, experience of drama is less likely to be through live performance than through screen-based media such as television, film, videos, video games, CD-ROM, DVD-ROM and interactive web-based games. And their experience of live performance is most likely to be shaped by the use of technology for design elements such as set, lighting and sound.7This is a compelling and imminent challenge. If drama educators cannot or will not find ways to work with technology, students will find other places to express their creativity outside the drama classroom. Added to the pressure from students who have grown up with these technologies, there is increasing pressure from curriculum developers and school systems to integrate technology into teaching. Aesthetics, Technology, and Curriculum: An Evolving Relationship All authorities and educational policy bodies in Australia are mandating integration of Information and Communications Technology (ICT) into drama curriculum. Recently, the New South Wales (NSW) Board of Studies mandated ICT as an area of "cross curriculum content," necessitating its inclusion in all Years 7-10 syllabi (which include all of the arts).8 For instance, the Year 7-10 drama syllabus states "... teachers should allow students the opportunity to explore different information communication technologies in their class work."9Recent studies have demonstrated mixed rates of participation and enthusiasm for the introduction of ICT in Australia and internationally. In the Australian study, half the respondents surveyed were not using ICT of any kind in their drama education.10 A... (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of (...) the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

Before he joined the Communist Party, the young György Lukács published an outstanding history of the modern drama in which he combined sociological analysis with aesthetic judgment. By doing so he called his countrymen's attention to a new and insightful approach to the study of literature. At the same time, he made a strong case for the superiority of neoclassical tragedy—largely inspired by personal experience.

In lieu of an abstract, here is a brief excerpt of the content:FEYERABEND'S EPISTEMOLOGY AND BRECHTS THEORY OF THE DRAMA by S. G. Couvalis In his early paper, "On the Improvement of the Sciences and the Arts," Feyerabend argues that, just as rival hypotheses show the shortcomings of entrenched scientific hypotheses, so theatre which presents hypotheses contrary to common beliefs about human beings shows the shortcomings of these beliefs. It develops understanding of human relations more effectively than intellectual debate because (...) it is a more complex medium whose elements can "represent the contrary hypotheses at the same time."1 He takes Brecht to be the first theorist of such a theatre. I shall argue that Brecht's epistemology is similar to Feyerabend's early epistemology and that his dramatic theory is a consequence of it.2 1 shall also argue, however, that Feyerabend is wrong in saying that Brechtian theatre presents contrary hypotheses at the same time, because plays, like descriptions, are theory-laden and Brecht, in any case, intends to show on stage that tragedies have social origins and not to present contrary hypotheses about human beings. According to Brecht, most people improperly assume that human behavior and social relations follow fixed patterns inherent in nature because they have been unable to compare the human behavior they know with that in other societies. They take what they experience to be typically human. Moreover, they interpret their social world as they have been taught: "A child, living in a world of old men... knows the run of things before he can walk."3 Feyerabend brings out the effect of such training very vividly: "The teaching procedures both shape the 'appearance,' or 'phenomenon' and establish a firm connection with words, so that finally the phenomena seem to speak for themselves...."4 Because these interpretations of the social world which children are taught are descriptive, explanatory, and prescriptive, they are more 117 118Philosophy and Literature complex and more dangerous than the interpretations of physical objects they are taught. For example, children learn different evaluations of precisely the same behavior in males and females through being taught how to describe it. In being taught to describe certain behavior as "manly" they are taught both that it arises from a male's nature and that it is laudable behavior for boys but not for girls. "Manly" behavior in a woman is not "confident" or "forthright," but "aggressive" or "pushy." In order to stop us from regarding traditional behavior patterns and social relations as unchangeable, and to enable us to question our descriptions of them, Brecht argues that the dramatist must cause us to cease to regard such patterns and social relations as familiar givens that can only be described in one way. To achieve this, he must not structure his plays on the Aristotelian model. The Aristotelian model makes audiences incapable of criticizing the dramatic message, imparts the view that the sources of tragedy lie in an inexplicable human essence, and presents social rules as if they were unquestionable natural laws. Instead, he should structure his plays to induce in audiences a scientific attitude to social relations and patterns of behavior. Like Feyerabend, Brecht realizes that a scientific attitude is not displayed by collecting descriptions of experience without considering whether the interpretations contained in the descriptions are correct. In Galileo, his view of those who mechanically describe experience in traditional terms is shown in Galileo's replies to the Aristotelian arguments of Andrea. When Andrea argues, "I can see that the sun's not in the same place in the evening and morning. So it can't stand still. It just can't," Galileo replies, "You 'W! What do you see? You see nothing at all. You're just gaping. Gaping isn't seeing." He then demonstrates to Andrea that the apparent motions of objects need not be their real motions because an apparent motion can be caused in more than one way. 5 Brecht shows that the central question for the scientist is not "How shall I collect descriptions of appearances?" but "What is it that I really perceive and how is it caused?" He argues elsewhere that "there's a vast difference between experiment and experience" because experiments are set up to test... (shrink)

The study reported in this paper focused on nursing students' learning and, in particular, their integration of caring science in theory and practice. An educational model incorporating educational drama was developed for implementation in three different teaching contexts within the nursing and midwifery study programmes at a Swedish college. A central aim was to understand the dynamics of educational drama in the healthcare context and its impact on learning and teaching. Using a phenomenological approach, seventeen students and six teachers were (...) interviewed and their experience of drama as an educational method explored.The research findings illustrate the meaning of learning and teaching that is sensitive to students' lifeworld experiences. In order to be a successful method for closing the gap between caring science theory and practice, not only the educational drama, but teaching in general, must be anchored in the lived world of the students - that is, their experiences of health and care. While embodied reflection, as a key factor in integrating theory and practice, was shown to be well supported by educational drama, it was also found that "the method" tends too readily to take over and govern teaching and learning. The findings of this study further indicate how learning in practice and embodied reflection can be supported by the inclusion of well-chosen caring science theory to cast light on caring practice dilemmas. (shrink)

O artigo procura situar a interpretação proposta por Theodor W. Adorno para a peça "Fim de partida", de Samuel Beckett, no contexto de sua concepção de autonomia da arte. Segundo a hipótese do trabalho, o conceito de autonomia subjaz ao diagnóstico histórico de Adorno a respeito do gênero dramático, o qual justifica sua leitura da peça como uma paródia do drama. O artigo busca mostrar os acertos dessa leitura perante a recepção inicial da peça, e também seus limites, uma vez (...) que resulta em uma abordagem da experiência teatral focada primordialmente na consideração do texto teatral, em detrimento da encenação. This article aims to situate the interpretation proposed by Theodor W. Adorno for Samuel Beckett’s play "Endgame" in the context of his conception of the autonomy of art. According to the hypothesis of this essay, the concept of autonomy underlies Adorno’s historic diagnostic about the dramatic genre, which justifies his analysis of the play as a parody of drama. The article seeks to demonstrate the successes of this reading in face of the play’s early reception, as well as its limitations, since it results in an approach to the theatrical experience primarily focused on regarding the theatrical text, at the expense of the staging. (shrink)

The playwright Edward Bond has recalled the impact of seeing photographs of Nazi atrocities at the end of World War Two: “It was the ground zero of the human soul.” He argues we need a different kind of drama, based in “a new interpretation of what it means to be human.” He has developed an extensive body of theoretical writings to set alongside his plays. Arguably, his own reflections on “what it means to be human” are based in his reaction (...) to the Holocaust, and his attempt to confront “the totality of evil.” Bond argues we are born “radically innocent.” There is a “pre-psychological” state of being. The neonate does not “read” ideology; it has to use its own imagination to make sense of the world. To enter society, however, the child must be corrupted; its imagination is “ideologized.” Bond claims that “radical innocence” can never wholly be lost. Through drama, we can escape “ideology” and recover our “autonomy.” It leads us to confront extreme situations, and to define for ourselves “what it means to be human.” The terms of Bond’s theory are Manichean. His arguments are based in the assumption that there is a fundamental “humanity” that exists prior to socialization. In fact, the process of socialization begins at birth. As an account of child development, “radical innocence” does not stand up to close scrutiny. Arguably, however, Bond’s work escapes the confines of his own theory. It can be read, not in terms of the “ideologized” vs. the “autonomous” mind, but rather, in terms of “conscious” and “unconscious.” In Coffee, Bond takes character of Nold on a journey into the Dantean hell of his own unconscious. He does not recover his “innocence,” but, rather, he has to face the darkness of both history and the psyche. (shrink)

I argue that the internal evidence of the Republic supports a conjecture first advanced by the historian Mark Munn: Glaucon was an accomplice of the so-called Thirty Tyrants who most likely died at the side of his relatives Critias and Charmides in the Battle of Munychia. If Munn is right, the Republic must be read as a poignant philosophical drama, the tragedy of Socrates’ unsuccessful struggle to save Plato’s brother from the corrupting influence of his family and his city. This (...) perspective raises important questions about the nature and limits of Socrates’ philosophical pedagogy, which must in turn be seen within the context of the dialogue’s symbolic and mythical representation of the cosmic moral drama of the soul. (shrink)

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore this (...) complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people. (shrink)

Sur le versant Sud d'une colline appelée Sténokorifi, non loin de Drama, de nombreux filons de marbre dolomitique, gris clair et de petite granulométrie, affleurent sur une étendue d'environ 19 000 m2 entre une végétation dense. Excepté le front de taille vertical d'une exploitation marbrière des années 1950 qui a fait des essais d'extraction en profondeur à l'aide du marteau-piqueur, il n'y a que des fronts de taille obliques (selon la pente) et les extractions sont superficielles. Dès lors que les (...) filons présentent une masse homogène et compacte, des traces d'extraction sont visibles ; certaines d'entre elles (canaux, emboîtures, entailles pour coins, négatifs de blocs extraits) sont conformes à celles des techniques d'extraction de l'époque romaine, alors que d'autres «enfonçures » sont les témoins de la technique d'extraction à l'époque proto-byzantine. Deux fours à chaux ont été identifiés, l'un d'époque byzantine et l'autre contemporain de l'exploitation moderne, d'où la rareté des blocs abandonnés. (shrink)