Aikaterini (Katerina) Delikonstantinidou
Aristotle University of Thessaloniki, School of English Language and Literature, PhD Candidate in Theatre and Performance Studies
I am adjunct lecturer/special teaching staff at the Department of English Language and Literature, National and Kapodistrian University of Athens, Greece. Previously employed as adjunct prof. of applied arts at the Department of Museum Studies, University of Patras. Recently completed postdoctoral research at the Department of Theatre Studies, University of Athens, on a full scholarship by the Greek State Scholarships Foundation (IKY). My postdoc focused on applications of myth-based digital theatre in adult education.
I have studied International Relations, English Language and Literature (BA), American Literature and Culture (MA, on a full scholarship by IKY), and Adult Education (MEd, on an excellence scholarship). I received my PhD in theatre and performance studies from the School of English, AUTh, on scholarships by AUTh (excellence), the Hellenic Foundation for Research & Innovation, and IKY, while part of my research was conducted at the University of Oxford, U.K., funded by the European Society for the Study of English.
My first monograph, based on my PhD thesis and titled "Latinx Reception of Greek Tragic Myth: Healing (and) Radical Politics", was published by Peter Lang in 2020. The range of my published work (articles and reviews in peer-reviewed academic journals, chapters and essays in edited volumes, conference presentations and outreach writings) reflects a diversity of research interests and encompasses various fields.
The same holds true for my teaching experience which spans several subjects and content areas (English literacy, English for Special Purposes, Academic Writing, Critical Writing, Drama, Fiction, Visual Culture, Social Theatre, Digital Theatre), teaching modes (lectures, workshops, seminars, facilitating individuals and groups), and institutional contexts.
Beyond the contours of my profile as educator, I have also worked as administrative assistant, editor and free-lance translator, while, more recently, I have served as production member for theatre performances and dramaturge, project manager and coordinator, and event organizer across venues and loci. Other recent professional experience includes serving as member of the editorial team for Critical Stages/Scènes critiques, the journal of the International Association for American Studies, and as the Young Scholar Representative of the Hellenic Association for American Studies.
Address: Athens, Greece
I have studied International Relations, English Language and Literature (BA), American Literature and Culture (MA, on a full scholarship by IKY), and Adult Education (MEd, on an excellence scholarship). I received my PhD in theatre and performance studies from the School of English, AUTh, on scholarships by AUTh (excellence), the Hellenic Foundation for Research & Innovation, and IKY, while part of my research was conducted at the University of Oxford, U.K., funded by the European Society for the Study of English.
My first monograph, based on my PhD thesis and titled "Latinx Reception of Greek Tragic Myth: Healing (and) Radical Politics", was published by Peter Lang in 2020. The range of my published work (articles and reviews in peer-reviewed academic journals, chapters and essays in edited volumes, conference presentations and outreach writings) reflects a diversity of research interests and encompasses various fields.
The same holds true for my teaching experience which spans several subjects and content areas (English literacy, English for Special Purposes, Academic Writing, Critical Writing, Drama, Fiction, Visual Culture, Social Theatre, Digital Theatre), teaching modes (lectures, workshops, seminars, facilitating individuals and groups), and institutional contexts.
Beyond the contours of my profile as educator, I have also worked as administrative assistant, editor and free-lance translator, while, more recently, I have served as production member for theatre performances and dramaturge, project manager and coordinator, and event organizer across venues and loci. Other recent professional experience includes serving as member of the editorial team for Critical Stages/Scènes critiques, the journal of the International Association for American Studies, and as the Young Scholar Representative of the Hellenic Association for American Studies.
Address: Athens, Greece
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Books by Aikaterini (Katerina) Delikonstantinidou
Both gameplay and theatreplay have taken a decisive digital turn in the past decades. However, the advent of the digital revolution shifted the terrains of gaming more radically than those of theatre. It certainly affected the theatre as art, craft, industry, and the sweep of applied theatre, and it also gave rise to forms of theatre native or adapted to the digital environment that now fall under the rubric of “digital theatre.” Still, generally speaking, the basics of theatre (especially mainstream theatre), namely its aesthetics, politics, and ethics, have not so far undergone any radical transformation owing to the integration of digital technology into the theatre praxis.
The case is different with games. Digital games’ prevalence over analog games in the last decades, and the proliferation of the former, have had a deep impact on the design, production, distribution, and reception of games as loci of sociality and socializing, as well as on their uses beyond the entertainment industry, in education, and in the intersection of games and the arts (Quandt and Kröger 2014; Dillon 2020). Digital gaming signals a dramatic change in the ontology and epistemology of gaming: what games are, what they do, and how we make meaning out of/with them. Ubiquitous and technologically forward-facing, digital gaming is not simply an intrinsic part of convergent media culture incontemporary societies, as game scholars Johannes Fromme and Alexander Unger have argued (2012); rather, it has emerged as one of the major actors therein. This could partially explain why contemporary theatre has turned to digital gaming in search of tools and to engage new audiences.
While the mutual feed between games and theatre was already there, it may be that the unique qualities of the digital (flexibility, mutability, openness, generativity, etc.) favored a more pronounced interrelation between digital games and theatre in recent years, in theory and practice. Additionally, the dawn of the performance studies paradigm has also fortified the said interrelation by pulling the spotlight from traditional theatre scholarship toward an expansive understanding of performance and an interdisciplinary multiplicity of entry points for performance analysis. Importantly, the connection between theatre and gaming is present in the very founding of the field of performance studies. Seminal texts that essentially instituted the field of performance studies clearly establish that connection at least as potentiality.
But in the nascent field of game studies too, as Clara Fernández Vara has showed, “[d]ramatic models have been repeatedly invoked to study virtual environments, . . . in game design, [and] to refer to different strategies to create uncertainty and tension in gameplay.” The way performance is currently defined corresponds to what people experience when engaged in digital gameplay. Fernández Vara has expounded on this issue in a 2009 article that delivers a theatre-based performance framework for understanding digital games, and Massively Multiplayer Online Role-Playing Games in particular (MMORPGs for short), as software and as gameplay. Without equating theatrical performance and digital gaming, the scholar renders our grasp of both and of their relationship with more nuance. This is also the approach that the present volume adopts.
Among other things, this volume seeks to probe into the question of why there are good reasons for theatre to be chosen as one of the basic reference models to study digital games (including MMORPGs). More generally, it sets about to explore affinities and intersections between theatre—analogue, digital, or mixed—and digital games of various kinds, as well as the benefits that the theatre-digital games alliance entails for both sides of the hyphen, and for the social domains of entertainment, art, and learning in which both are involved and which both affect.
We are looking for papers which are theoretically informed and well-grounded in relevant research, irrespective of whether the said research falls within the field of game studies, theatre studies, cultural studies, popular culture studies, etc. We welcome papers that engage with both theatre and digital games and are written in a compelling and accessible prose. The length of each paper should not exceed 6,000 words, including bibliography. Authors should follow the format and citation style of MLA guide, 9th edition. All submissions will undergo peer review.
Topics may include (but are not limited to):
Connections between theatre and games from the past to the present
Digital games as theatrical media
Theatrical performances in digital gameplay
Theatre as a reference model to study MMORPGs
Theatre as gaming technology
The tools of digital gaming in contemporary theatre
Digital (or mixed mode) theatre and digital games
Digital gaming and gameplay in applied theatre contexts
Actual and potential benefits of the theatre-digital games alliance
The implications of the theatre-digital games alliance for the entertainment industry
The implications of the theatre-digital games alliance for the realm of the arts
The implications of the theatre-digital games alliance for education
Digitally enriched Live Action Role-Playing Games (LARPs)
The theatrical dimension of serious play tuned to the digital mode
Timeline
Please send a well-developed abstract of 300–500 words and a biographical note of 150–200 words to Dr. Aikaterini Delikonstantinidou (aikaterini@enl.auth.gr) and Dr. Dimitra Nikolaidou (d.nicolaidou@gmail.com) by November 30, 2022. The abstract shouldstate clearly the author’s thesis, outline the author’s theoretical framework, briefly describe the research method and/or design, and identify the aims of the work. Your proposal should also include 3–5 keywords and selected bibliography.
Formal invitation to contribute to the volume by December 31, 2022.
Deadline for the submission of the book chapter, April 30, 2023.
Projected date of publication and publisher: TBA.
Papers by Aikaterini (Katerina) Delikonstantinidou
tragedies have undergone mythical revisions in Latin American theatre
corresponding to not only panhuman, timeless questions but also specific,
multicultural backgrounds.
Both gameplay and theatreplay have taken a decisive digital turn in the past decades. However, the advent of the digital revolution shifted the terrains of gaming more radically than those of theatre. It certainly affected the theatre as art, craft, industry, and the sweep of applied theatre, and it also gave rise to forms of theatre native or adapted to the digital environment that now fall under the rubric of “digital theatre.” Still, generally speaking, the basics of theatre (especially mainstream theatre), namely its aesthetics, politics, and ethics, have not so far undergone any radical transformation owing to the integration of digital technology into the theatre praxis.
The case is different with games. Digital games’ prevalence over analog games in the last decades, and the proliferation of the former, have had a deep impact on the design, production, distribution, and reception of games as loci of sociality and socializing, as well as on their uses beyond the entertainment industry, in education, and in the intersection of games and the arts (Quandt and Kröger 2014; Dillon 2020). Digital gaming signals a dramatic change in the ontology and epistemology of gaming: what games are, what they do, and how we make meaning out of/with them. Ubiquitous and technologically forward-facing, digital gaming is not simply an intrinsic part of convergent media culture incontemporary societies, as game scholars Johannes Fromme and Alexander Unger have argued (2012); rather, it has emerged as one of the major actors therein. This could partially explain why contemporary theatre has turned to digital gaming in search of tools and to engage new audiences.
While the mutual feed between games and theatre was already there, it may be that the unique qualities of the digital (flexibility, mutability, openness, generativity, etc.) favored a more pronounced interrelation between digital games and theatre in recent years, in theory and practice. Additionally, the dawn of the performance studies paradigm has also fortified the said interrelation by pulling the spotlight from traditional theatre scholarship toward an expansive understanding of performance and an interdisciplinary multiplicity of entry points for performance analysis. Importantly, the connection between theatre and gaming is present in the very founding of the field of performance studies. Seminal texts that essentially instituted the field of performance studies clearly establish that connection at least as potentiality.
But in the nascent field of game studies too, as Clara Fernández Vara has showed, “[d]ramatic models have been repeatedly invoked to study virtual environments, . . . in game design, [and] to refer to different strategies to create uncertainty and tension in gameplay.” The way performance is currently defined corresponds to what people experience when engaged in digital gameplay. Fernández Vara has expounded on this issue in a 2009 article that delivers a theatre-based performance framework for understanding digital games, and Massively Multiplayer Online Role-Playing Games in particular (MMORPGs for short), as software and as gameplay. Without equating theatrical performance and digital gaming, the scholar renders our grasp of both and of their relationship with more nuance. This is also the approach that the present volume adopts.
Among other things, this volume seeks to probe into the question of why there are good reasons for theatre to be chosen as one of the basic reference models to study digital games (including MMORPGs). More generally, it sets about to explore affinities and intersections between theatre—analogue, digital, or mixed—and digital games of various kinds, as well as the benefits that the theatre-digital games alliance entails for both sides of the hyphen, and for the social domains of entertainment, art, and learning in which both are involved and which both affect.
We are looking for papers which are theoretically informed and well-grounded in relevant research, irrespective of whether the said research falls within the field of game studies, theatre studies, cultural studies, popular culture studies, etc. We welcome papers that engage with both theatre and digital games and are written in a compelling and accessible prose. The length of each paper should not exceed 6,000 words, including bibliography. Authors should follow the format and citation style of MLA guide, 9th edition. All submissions will undergo peer review.
Topics may include (but are not limited to):
Connections between theatre and games from the past to the present
Digital games as theatrical media
Theatrical performances in digital gameplay
Theatre as a reference model to study MMORPGs
Theatre as gaming technology
The tools of digital gaming in contemporary theatre
Digital (or mixed mode) theatre and digital games
Digital gaming and gameplay in applied theatre contexts
Actual and potential benefits of the theatre-digital games alliance
The implications of the theatre-digital games alliance for the entertainment industry
The implications of the theatre-digital games alliance for the realm of the arts
The implications of the theatre-digital games alliance for education
Digitally enriched Live Action Role-Playing Games (LARPs)
The theatrical dimension of serious play tuned to the digital mode
Timeline
Please send a well-developed abstract of 300–500 words and a biographical note of 150–200 words to Dr. Aikaterini Delikonstantinidou (aikaterini@enl.auth.gr) and Dr. Dimitra Nikolaidou (d.nicolaidou@gmail.com) by November 30, 2022. The abstract shouldstate clearly the author’s thesis, outline the author’s theoretical framework, briefly describe the research method and/or design, and identify the aims of the work. Your proposal should also include 3–5 keywords and selected bibliography.
Formal invitation to contribute to the volume by December 31, 2022.
Deadline for the submission of the book chapter, April 30, 2023.
Projected date of publication and publisher: TBA.
tragedies have undergone mythical revisions in Latin American theatre
corresponding to not only panhuman, timeless questions but also specific,
multicultural backgrounds.
concept. The conceptual domain of Pride contains one concept that serves as
a cognitive reference point, or its prototype and a variety of related concepts.
The connotations accompanying each one of these concepts seem to depend
on a balance between the value scale of the causes of Pride and of the Pride
scale itself. This intrinsic structure facilitates the categorization of its conceptual
metaphors that originate from the emotion concept Pride and are frequently
motivated by the physiological effects and behavioral reactions associated with
the particular emotion. However, as metaphors are conceptual in nature, beyond
their linguistic manifestations we can detect their non-linguistic realizations in
other areas of human experience. The effects and reactions attributed to pride
also provide the metonymic basis for all the conceptual metonymies related to
both the prototypical Pride and to its related concepts. Pride proves to be an
extremely complex emotion concept that is culturally non-specific and whose
conceptualizations vary greatly, diachronically and interculturally.
Lignadis’ take on Aeschylus’ The Persians, and Noah’s Ark / Il diluvio universal, an unconventional reconfiguration of Michelangelo Falvetti’s homonymous work born of the collaboration of Rafi music theatre company and performance team Nova Melancholia.