Videos by Avra Xepapadakou
Our MA in Greek Civilization (English, Distance Learning Programme) covers the main body of Greek... more Our MA in Greek Civilization (English, Distance Learning Programme) covers the main body of Greek culture offering students a unique educational opportunity. It explores the multifaceted phenomenon of Greek civilization, both in its diachronic and in its thematic range. At the core of its design lies the investigation of the fundamental Greek concepts and values that shaped and are still central to the modern Western world. Freedom, democracy, aesthetics, logic and the search for truth and scientific knowledge are some of the areas the programme studies. Courses draw on thematic material from various disciplines in the field of Greek civilization such as history, philosophy, literature, science, the arts and language. Moreover, students will deal with topics that attract international interest as they combine aspects of Greek antiquity with contemporary culture, such as stage approaches of ancient drama, modern Greek cinema, printing history and digital culture. 11 views
An online event under the MA in Greek Civilization at the University of Nicosia
Caterina Corn... more An online event under the MA in Greek Civilization at the University of Nicosia
Caterina Cornaro (1454-1510) was the last queen of Cyprus. Caterina and her Renaissance court at Asolo have become the stuff of legend and inspired a large number of works of art, such as paintings by grand masters, dramatic plays, novels, poems and well-known operas. 14 views
BOOKS MONOGRAPHS by Avra Xepapadakou
Athens: Hellenic Music Centre, 2017
The subject matter of the present book is the music of the salon, a frequently misunderstood inst... more The subject matter of the present book is the music of the salon, a frequently misunderstood institution that came into its own in the early nineteenth century as a key component of formalized sociability. The salon embraced a diversity of activities [...] and a diversity of social groups, from bourgeois soirées to dazzling aristocratic gatherings where the most famous personalities of the day would assemble. But common to most was music […].
This book illuminates one corner of a larger story of musical patronage that extends from the early nineteenth to the early twentieth centuries, a story in which women really do occupy centre stage.
[...] The anthology provided here helps to restore something of the immediacy of musical practices that are ‘of their time’ and ‘of their place’. It constitutes an act of recovery, and it makes concrete the ‘little stories’ of multiple Hellenic cultures relayed by our authors. […] The great virtue of this volume by Avra Xepapadakou and Alexandros Charkiolakis is that it allows us to see around the edges of familiar, canonised portraits of music, musicians, and music-making. It takes us backstage.
Excerpt from the Forweord by Professor Jim Samson
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A biography of the Greek composer, who was born on 12 May 1829 in Zakynthos, and who is the first... more A biography of the Greek composer, who was born on 12 May 1829 in Zakynthos, and who is the first Greek opera composer; placing him in the historical and cultural context of the 19th century. A fascinating portrait emerges a composer and the relations between West and East, present and past, modernity and tradition, that shaped the culture of modern Greece. (n.a.)
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Ziogas, Yannis & Xepapadakou, Avra (2013). Cultural Education / Aesthetics in Second-Chance Schoo... more Ziogas, Yannis & Xepapadakou, Avra (2013). Cultural Education / Aesthetics in Second-Chance Schools. Study Guide and Good Practices, Athens: Foundation of Youth and Lifelong Learning
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BOOKS EDITED VOLUMES by Avra Xepapadakou
Kapa Ekdotiki, 2024
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Ποια η έννοια, η λειτουργία και η χρησιμότητα των αρχείων στην εποχή της ψηφιακής επανάστασης; Πο... more Ποια η έννοια, η λειτουργία και η χρησιμότητα των αρχείων στην εποχή της ψηφιακής επανάστασης; Ποιες νέες αναγκαιότητες έχουν προκύψει και οφείλουν να υπηρετηθούν; Η εδραίωση επιστημονικών κλάδων, όπως η Δημόσια Ιστορία και οι Ψηφιακές Ανθρωπιστικές Επιστήμες και Τέχνες, έχουν μεταβάλει το αρχειακό τοπίο, εγκαινιάζοντας προοπτικές αξιοποίησης και ανάδειξης του πολιτιστικού περιεχομένου και καθιστώντας τα αρχεία ζωντανές εστίες έμπνευσης και δημιουργικότητας.
Οι νέες και σύνθετες διαστάσεις της πληροφορίας, των δεδομένων και των μεταδεδομένων, καθώς και οι σύγχρονες ανάγκες για ανοικτότητα, προσβασιμότητα, συμπεριληπτικότητα και ανάπτυξη του κοινού των αρχείων έχουν πυροδοτήσει έναν παραγωγικό διάλογο τόσο μεταξύ των μελών της ερευνητικής ομάδας του ευρωπαϊκού πολυεταιρικού έργου 'CR.E.ARCH.: CReative European ARCHives as Innovative Cultural Hubs', όσο και σε έναν ευρύτερο κύκλο ειδικών ερευνητών και ερευνητριών, αλλά και καλλιτεχνών που υπογράφουν τον τόμο 'Δημιουργικά αρχεία ως ζωντανά τοπία μνήμης στην ψηφιακή εποχή'.
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CREARCH, 2020
Training handbook published in the framework of the CR.E.ARCH. project (Creative Europe 2018-2021)
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Opera and the Greek World during the Nineteenth Century (ebook) FULL ACCESS, 2019
Published by Ionian University-Music Department-Hellenic Music Research Lab and Corfu Philharmoni... more Published by Ionian University-Music Department-Hellenic Music Research Lab and Corfu Philharmonic Society (ISBN 978-960-7260-63-5).
2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere.
The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017.
Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.
Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world.
Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.
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Επετειακή Έκδοση της όπερας "Ο Υποψήφιος Βουλευτής" του Σπυρίδωνος Ξύνδα (150 χρόνια από την πρεμιέρα της, 1867-2017). The opera "The Parliamentary Candidate" by Spiridon Xindas: a publication honouring the 150 years since its premiere (1867-2017), 2017
The comic opera "The Parliamentary Candidate" is the earliest opera using libretto in Greek, as w... more The comic opera "The Parliamentary Candidate" is the earliest opera using libretto in Greek, as well as extensive material of rural music, both from Ionian Islands and the mainland. It was premiered in Corfu in 1867 and does not glorify the ancient or the recent historical past, but on the contrary offers a realistic view of its current social and political situation. Due to its political critic against the corrupted politicians and their supporters after 1888 the structure of the opera has changed considerably. This fact contributed to the total misunderstanding of its aims and ideas until today. The Corfu Philharmonic Society, honouring the 150 years since its premiere and the 200 years since the birth of its composer , published for the first time the original 1867 vocal score in a bilingual (Greek and English) volume. More information and subscriptions in:
http://www.fek.gr/the-news/anakoinos/65-nea/850-epeteioi-2017?lang=el
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by Anna Tabaki, Alexia Altouva, Stessi Athini, Maria Charitou, Avra Xepapadakou, Maria Sehopoulou, Katerina Karakassi, Marinella Sofia Gkinko, Zoi Mavridou, Nikos Falagkas, and Katerina Diakoumopoulou Επιστημονικό Συμπόσιο (Αθήνα, 13-14 Νοεμβρίου 2015, Κτήριο «Κωστής Παλαμάς».
Βιβλιοκρισία: Βάλτε... more Επιστημονικό Συμπόσιο (Αθήνα, 13-14 Νοεμβρίου 2015, Κτήριο «Κωστής Παλαμάς».
Βιβλιοκρισία: Βάλτερ Πούχνερ, Παράβασις 16/2 (2018), σσ. 309- 313. (www.theatre.uoa.gr/ereyna/ ekdoseis/parabasis /parabasis-online.html).
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Ο Ορφέας στον Άδη είναι η πρώτη μεγάλη επιτυχία του Jacques Offenbach, αλλά και η πρώτη οπερέτα μ... more Ο Ορφέας στον Άδη είναι η πρώτη μεγάλη επιτυχία του Jacques Offenbach, αλλά και η πρώτη οπερέτα μεγάλης διάρκειας. Πρόκειται για μία ξεκαρδιστική σάτιρα της αρχαιότητας, της όπερας του κλασικισμού και των ηθών της παριζιάνικης κοινωνίας κατά την περίοδο της Δεύτερης Αυτοκρατορίας.
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ARTICLES & CONTRIBUTIONS by Avra Xepapadakou
Πρακτικά της επιστημονικής ημερίδας Χαμένοι στη μετάφραση ή (δι)ερευνώντας τις αδημοσίευτες μεταφράσεις αρχαίου δράματος, Κ. Διαμαντάκου (επιμ.), Αθήνα: Κάπα εκδοτική, 177-189., 2024
Avra Xepapadakou & Io Manolessou, Translating Lysistrata in the 21st century: Theoretical conside... more Avra Xepapadakou & Io Manolessou, Translating Lysistrata in the 21st century: Theoretical considerations, methodological approach, implementation
The translation of Ancient Greek drama has long formed the object of considerable theoretical discussion, and the field of constructive debate between the fields of classics, translation studies, and performance studies. This is all the more true in the case of Attic comedy, a multi-faceted dramatic genre where diverse elements co-exist. In contrast to the international academic scene, the issue of the intralingual translation of Aristophanic comedy has not been sufficiently developed in Greek scholarship. The transposition of a text from Ancient to Modern Greek, i.e. a linguistic form closely related genetically to the original language, adds another layer of complexity to the issue. In effect, a Modern Greek translation of Lysistrata, which forms the topic of this paper, is called upon to provide not only the “meaning” of the texts or the authorial intentions, but also to highlight a complex nexus of common linguistic and cultural values, as well as a stable, recognizable through the centuries, frame/background of scenic and comic action. This contribution describes how we as translators come to grips with Lysistrata, Aristophanes’ most “feminine” work, on the linguistic and potentially on the performance level, an attempt which constitutes something of an irruption in a hitherto exclusively masculine abaton (at least in Greece). The paper discusses the translation principles and the methodology adopted in our unpublished translation attempt, and further focuses on the complex dimensions of a “double” translation: a contrastive side-by-side translation of the ancient comedy, on the one hand, in a literal/faithful
way on the one hand and in a free/theatrical way on the other. Finally, it recounts the tribulations of a translation destined for the stage but in the end relegated to a computer hard drive.
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Parcours de génétique théâtrale: brouillons, variations et transpositions, Sophie Lucet & Ana-Clara Santos (eds), Paris : Le Manuscrit, 2023
This paper explores the creative process of the "Oresteia (an organic comedy?)", a groundbreaking... more This paper explores the creative process of the "Oresteia (an organic comedy?)", a groundbreaking theatrical production created/directed by Romeo Castellucci in 1995 and 2015. In the paper, a genetic methodology of performance analysis is applied through the thorough study of a plethora of primary sources and the constitution of the detailed "genetic file" of the production.
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Zealos: Studies in the Humanities, Social Sciences, Arts & Design , 2023
This article focuses on an opera forgotten today, but popular in its time: Isabella d’Aspeno, a w... more This article focuses on an opera forgotten today, but popular in its time: Isabella d’Aspeno, a work by the Ionian composer Paolo Carrer and the unknown Italian librettist hidden behind the initials R.G.S. The opera Isabella d’Aspeno was performed in April 1855 at the Milanese theatre ‘Carcano’ and was considered one of the grands succès of the season, a fact confirmed by the numerous repetitions of the production during that year and the next. The special interest of this work lies is its obvious thematic similarity to the libretto of the celebrated Italian opera Un Ballo in Maschera by Giuseppe Verdi and Antonio Somma.
Taking into consideration that Carrer’s Isabella is chronologically anterior to Verdi’s Ballo (1859), it would be reasonable to wonder whether the work of the young composer from Zante served as one of the models for one of the major operatic creations of the king of Italian opera. Since Isabella d’Aspeno was such a major operatic hit at the time when Verdi and his librettist Somma were working on the dramatic plot of Un Ballo in Maschera, the possibility that they were aware of it cannot be ruled out. We will attempt to investigate this issue by offering a comparison of the two librettos, as well as those of the other known models of Un Ballo in Maschera.
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Institutionalization in Music History, Saijaleena Rantanen & Derek B. Scott (eds), Helsinki: DocMus Research Publications, 15-36, 2022
This chapter attempts to trace the evolutionary path towards the institutionalization of music li... more This chapter attempts to trace the evolutionary path towards the institutionalization of music life in 19th c. Greece, a new European state just recovering and struggling to re-connect with the Western world after more than 400 years of Ottoman rule. Greece constitutes an especially interesting case study, as it functioned as a cultural cross-roads between East and West within a geographically wide and culturally complex space at the southeastern edge of Europe, characterized by a still resonant Ottoman past and a fast pace of westernization.
Within the area investigated, the gradual acquaintance with Western culture is effectuated initially as a private activity, only later acquiring a public character through consecutive stages of institutionalization. The proposed overview includes landmarks such as the developing of a network of musical and theatrical activity and the foundation of musical and theatrical institutions, namely opera houses, as the cultivation of art music became inherently connected with the development of theatrical activity, and in particular with the diffusion of opera and musical theatre. Consequently, the trajectory of art music in Greece will be connected with the development of Greek urban life and the continuous trend for westernization running through the huge area between the Adriatic Sea, the Black Sea, the Aegean archipelago and the Eastern Mediterranean. Concerts, opera, ballet and theatre productions, balls, light musical theatre, were all instantiations of an urban civilization, linked to city public life, and bourgeois needs and habits.
Additionally, this paper attempts to relate the path towards institutionalization with the developments in the cultural market in general, by examining factors which affect musical and theatrical activity in a decisive way, such as: the evolution of new social customs (evening entertainment), the introduction and gradual establishment of musical education, the commercialization of art, and the gradually increasing professionalism of the performers and artists which leads to the formation of a creative industry.
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The Cyprus Review. A Journal of Social Sciences, 34(1), Spring 2022, 164-170, 2022
Book Review: Theatre in Modern and Contemporary Cyprus, edited by Andri Constantinou, Kaiti Diama... more Book Review: Theatre in Modern and Contemporary Cyprus, edited by Andri Constantinou, Kaiti Diamantakou, and Leonidas Galazis, Athens: Herodotus & Cyprus Theatre Museum, 2020, pp. 640, ISBN: 978-960-485-327-4
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Popular Song in the 19th Century, Derek B. Scott (ed.), Turnhout: Brepols, 2022
The Greek musical culture of the 19th century developed under only partially formed political and... more The Greek musical culture of the 19th century developed under only partially formed political and social conditions, within an area of new ethnic states, the borders of which were as yet not fully defined. The “new” Greece was a nexus for the meeting of different musical cultures, with different origins, ancient and modern, western and eastern, polyphonic, monophonic and pentaphonic, traditional and urban. The Modern Greek state, which was formed gradually, from 1830 until the first decades of the 20th century, could boast of a new Greek musical culture, the product of intense cultural gestation, which involved a multiplicity of local musical idioms.
This chapter investigates popular song in 19th century Greece, which lies within a quite broad intermediate band between art and traditional musical creation. It aims to present different manifestations of urban popular song in the Greek 19th c., some of which develop outside the borders of the Greek state proper, as delimited after its independence from Ottoman rule. It discusses different genres, such as phanariot songs, oriental songs from Constantinople, Smyrna and Ioannina, heptanesian cantadas, Athenian light songs. All of the above genres appeared and flourished before the development of discography in Greece.
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Histoire de l’opéra français de la Belle Époque au monde globalisé , Hervé Lacombe (ed.), Paris: Fayard, 2022
This chapter explores the spread of French lyric theatre in the Greek-speaking areas, which took ... more This chapter explores the spread of French lyric theatre in the Greek-speaking areas, which took place between two wars: from 1870 (Franco-Prussian war) to 1939-40 (WW2). However, France had started to exercise an influence on Greek cultural and social life, in parallel with its major political role, already since the foundation of the new independent Greek state in 1830. The educated urban audience developed an intense interest in French culture, and the tendency increased from 1870 onwards. French language and education, theatre, opera, operetta, romantic novels, haute couture, cuisine, savoir-vivre became in vogue. French influence was so strong that one could speak of French cultural hegemony or even Gallomania.
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Videos by Avra Xepapadakou
Caterina Cornaro (1454-1510) was the last queen of Cyprus. Caterina and her Renaissance court at Asolo have become the stuff of legend and inspired a large number of works of art, such as paintings by grand masters, dramatic plays, novels, poems and well-known operas.
BOOKS MONOGRAPHS by Avra Xepapadakou
This book illuminates one corner of a larger story of musical patronage that extends from the early nineteenth to the early twentieth centuries, a story in which women really do occupy centre stage.
[...] The anthology provided here helps to restore something of the immediacy of musical practices that are ‘of their time’ and ‘of their place’. It constitutes an act of recovery, and it makes concrete the ‘little stories’ of multiple Hellenic cultures relayed by our authors. […] The great virtue of this volume by Avra Xepapadakou and Alexandros Charkiolakis is that it allows us to see around the edges of familiar, canonised portraits of music, musicians, and music-making. It takes us backstage.
Excerpt from the Forweord by Professor Jim Samson
BOOKS EDITED VOLUMES by Avra Xepapadakou
The proceedings are posted on the website of the Department and the Laboratory:
https://www.theatre.uoa.gr/ereyna/ekdoseis/memonomenes_ekdoseis/
https://ancientdramalab.theatre.uoa.gr/anakoinoseis_kai_ekdiloseis/proboli_anakoinosis/psifiaki_ekdosi_toy_tomoy_chamenoi_sti_metafrasi_i_diereynontas_tis_adimosieytes_metafraseis_archa/
Οι νέες και σύνθετες διαστάσεις της πληροφορίας, των δεδομένων και των μεταδεδομένων, καθώς και οι σύγχρονες ανάγκες για ανοικτότητα, προσβασιμότητα, συμπεριληπτικότητα και ανάπτυξη του κοινού των αρχείων έχουν πυροδοτήσει έναν παραγωγικό διάλογο τόσο μεταξύ των μελών της ερευνητικής ομάδας του ευρωπαϊκού πολυεταιρικού έργου 'CR.E.ARCH.: CReative European ARCHives as Innovative Cultural Hubs', όσο και σε έναν ευρύτερο κύκλο ειδικών ερευνητών και ερευνητριών, αλλά και καλλιτεχνών που υπογράφουν τον τόμο 'Δημιουργικά αρχεία ως ζωντανά τοπία μνήμης στην ψηφιακή εποχή'.
2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere.
The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017.
Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.
Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world.
Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.
http://www.fek.gr/the-news/anakoinos/65-nea/850-epeteioi-2017?lang=el
Βιβλιοκρισία: Βάλτερ Πούχνερ, Παράβασις 16/2 (2018), σσ. 309- 313. (www.theatre.uoa.gr/ereyna/ ekdoseis/parabasis /parabasis-online.html).
ARTICLES & CONTRIBUTIONS by Avra Xepapadakou
The translation of Ancient Greek drama has long formed the object of considerable theoretical discussion, and the field of constructive debate between the fields of classics, translation studies, and performance studies. This is all the more true in the case of Attic comedy, a multi-faceted dramatic genre where diverse elements co-exist. In contrast to the international academic scene, the issue of the intralingual translation of Aristophanic comedy has not been sufficiently developed in Greek scholarship. The transposition of a text from Ancient to Modern Greek, i.e. a linguistic form closely related genetically to the original language, adds another layer of complexity to the issue. In effect, a Modern Greek translation of Lysistrata, which forms the topic of this paper, is called upon to provide not only the “meaning” of the texts or the authorial intentions, but also to highlight a complex nexus of common linguistic and cultural values, as well as a stable, recognizable through the centuries, frame/background of scenic and comic action. This contribution describes how we as translators come to grips with Lysistrata, Aristophanes’ most “feminine” work, on the linguistic and potentially on the performance level, an attempt which constitutes something of an irruption in a hitherto exclusively masculine abaton (at least in Greece). The paper discusses the translation principles and the methodology adopted in our unpublished translation attempt, and further focuses on the complex dimensions of a “double” translation: a contrastive side-by-side translation of the ancient comedy, on the one hand, in a literal/faithful
way on the one hand and in a free/theatrical way on the other. Finally, it recounts the tribulations of a translation destined for the stage but in the end relegated to a computer hard drive.
Taking into consideration that Carrer’s Isabella is chronologically anterior to Verdi’s Ballo (1859), it would be reasonable to wonder whether the work of the young composer from Zante served as one of the models for one of the major operatic creations of the king of Italian opera. Since Isabella d’Aspeno was such a major operatic hit at the time when Verdi and his librettist Somma were working on the dramatic plot of Un Ballo in Maschera, the possibility that they were aware of it cannot be ruled out. We will attempt to investigate this issue by offering a comparison of the two librettos, as well as those of the other known models of Un Ballo in Maschera.
Within the area investigated, the gradual acquaintance with Western culture is effectuated initially as a private activity, only later acquiring a public character through consecutive stages of institutionalization. The proposed overview includes landmarks such as the developing of a network of musical and theatrical activity and the foundation of musical and theatrical institutions, namely opera houses, as the cultivation of art music became inherently connected with the development of theatrical activity, and in particular with the diffusion of opera and musical theatre. Consequently, the trajectory of art music in Greece will be connected with the development of Greek urban life and the continuous trend for westernization running through the huge area between the Adriatic Sea, the Black Sea, the Aegean archipelago and the Eastern Mediterranean. Concerts, opera, ballet and theatre productions, balls, light musical theatre, were all instantiations of an urban civilization, linked to city public life, and bourgeois needs and habits.
Additionally, this paper attempts to relate the path towards institutionalization with the developments in the cultural market in general, by examining factors which affect musical and theatrical activity in a decisive way, such as: the evolution of new social customs (evening entertainment), the introduction and gradual establishment of musical education, the commercialization of art, and the gradually increasing professionalism of the performers and artists which leads to the formation of a creative industry.
This chapter investigates popular song in 19th century Greece, which lies within a quite broad intermediate band between art and traditional musical creation. It aims to present different manifestations of urban popular song in the Greek 19th c., some of which develop outside the borders of the Greek state proper, as delimited after its independence from Ottoman rule. It discusses different genres, such as phanariot songs, oriental songs from Constantinople, Smyrna and Ioannina, heptanesian cantadas, Athenian light songs. All of the above genres appeared and flourished before the development of discography in Greece.
Caterina Cornaro (1454-1510) was the last queen of Cyprus. Caterina and her Renaissance court at Asolo have become the stuff of legend and inspired a large number of works of art, such as paintings by grand masters, dramatic plays, novels, poems and well-known operas.
This book illuminates one corner of a larger story of musical patronage that extends from the early nineteenth to the early twentieth centuries, a story in which women really do occupy centre stage.
[...] The anthology provided here helps to restore something of the immediacy of musical practices that are ‘of their time’ and ‘of their place’. It constitutes an act of recovery, and it makes concrete the ‘little stories’ of multiple Hellenic cultures relayed by our authors. […] The great virtue of this volume by Avra Xepapadakou and Alexandros Charkiolakis is that it allows us to see around the edges of familiar, canonised portraits of music, musicians, and music-making. It takes us backstage.
Excerpt from the Forweord by Professor Jim Samson
The proceedings are posted on the website of the Department and the Laboratory:
https://www.theatre.uoa.gr/ereyna/ekdoseis/memonomenes_ekdoseis/
https://ancientdramalab.theatre.uoa.gr/anakoinoseis_kai_ekdiloseis/proboli_anakoinosis/psifiaki_ekdosi_toy_tomoy_chamenoi_sti_metafrasi_i_diereynontas_tis_adimosieytes_metafraseis_archa/
Οι νέες και σύνθετες διαστάσεις της πληροφορίας, των δεδομένων και των μεταδεδομένων, καθώς και οι σύγχρονες ανάγκες για ανοικτότητα, προσβασιμότητα, συμπεριληπτικότητα και ανάπτυξη του κοινού των αρχείων έχουν πυροδοτήσει έναν παραγωγικό διάλογο τόσο μεταξύ των μελών της ερευνητικής ομάδας του ευρωπαϊκού πολυεταιρικού έργου 'CR.E.ARCH.: CReative European ARCHives as Innovative Cultural Hubs', όσο και σε έναν ευρύτερο κύκλο ειδικών ερευνητών και ερευνητριών, αλλά και καλλιτεχνών που υπογράφουν τον τόμο 'Δημιουργικά αρχεία ως ζωντανά τοπία μνήμης στην ψηφιακή εποχή'.
2017 marked for opera in Greece four anniversaries: the centenary since the passing of Spiros Samaras (1861-1917), the bicentenary since the birth of two important Greek opera composers, Spiridon Xyndas (1817-1896) and Domenikos Padovàs (1817-1892), as well as the 150 years since the premiere of the opera O ypopsifios [The Parliamentary Candidate] (1867, music by Xyndas and libretto by Ioannis Rinopoulos), which was both the first full-scale opera in Greek and the pivotal point for the emergence of opera in Greek language. Actually, this opera was revived by the Corfu Philharmonic Society in November 2017 in its original version honouring thus both the birth of its composer and the anniversary of its premiere.
The Hellenic Music Research Lab of the Music Department of the Ionian University and Corfu Philharmonic Society on the occasion of the aforementioned anniversaries organized the international conference entitled Opera and the Greek World during Nineteenth Century, which took place in Corfu, Greece, on 17, 18 and 19 November 2017.
Corfu, the seat of the Ionian University, was the birthplace of the three aforementioned composers. The San Giacomo theatre of Corfu, the earliest theatrical stage of the region, hosted opera performances already since 1733, contributing decisively to the dissemination of opera within the Greek world during 19th century. Moreover, Xyndas, Padovàs and Samaras presented in the same theatre their operas. Xyndas in 1840 was also one of the initial founders and professors of the Corfu Philharmonic Society and he dedicated to it certain of his operas. Padovàs also taught harmony and music theory in the Philharmonic, in 1857 he dedicated to it his opera Dirce and since 1884 he was appointed the Society’s artistic director. Samaras, a student of Xyndas during his early music training, had multiple connections with the Philharmonic Society and had been its honorary artistic director since 1889.
Given the above, the conference was not confined solely to the lives and the works of the aforementioned composers, but focused on matters regarding the place, the reception, the importance and the formative factors of the operatic activity within the Greek world during the “long nineteenth century”. This volume includes sixteen selected contributions covering areas such diverse as opera in the Ionian Islands, Athens and the Greek diaspora, analytical approaches and matters of reception both in Greece and abroad, and offers to the readers a wealth of information regarding opera activity in such places as Ermoupolis (Syros) and Smyrna, as well as aspects of the operatic “micro-history” of the Greek world.
Most of the texts of this volume are in English, but for those that are in Greek, extended abstracts can be found in the “Summaries” section.
http://www.fek.gr/the-news/anakoinos/65-nea/850-epeteioi-2017?lang=el
Βιβλιοκρισία: Βάλτερ Πούχνερ, Παράβασις 16/2 (2018), σσ. 309- 313. (www.theatre.uoa.gr/ereyna/ ekdoseis/parabasis /parabasis-online.html).
The translation of Ancient Greek drama has long formed the object of considerable theoretical discussion, and the field of constructive debate between the fields of classics, translation studies, and performance studies. This is all the more true in the case of Attic comedy, a multi-faceted dramatic genre where diverse elements co-exist. In contrast to the international academic scene, the issue of the intralingual translation of Aristophanic comedy has not been sufficiently developed in Greek scholarship. The transposition of a text from Ancient to Modern Greek, i.e. a linguistic form closely related genetically to the original language, adds another layer of complexity to the issue. In effect, a Modern Greek translation of Lysistrata, which forms the topic of this paper, is called upon to provide not only the “meaning” of the texts or the authorial intentions, but also to highlight a complex nexus of common linguistic and cultural values, as well as a stable, recognizable through the centuries, frame/background of scenic and comic action. This contribution describes how we as translators come to grips with Lysistrata, Aristophanes’ most “feminine” work, on the linguistic and potentially on the performance level, an attempt which constitutes something of an irruption in a hitherto exclusively masculine abaton (at least in Greece). The paper discusses the translation principles and the methodology adopted in our unpublished translation attempt, and further focuses on the complex dimensions of a “double” translation: a contrastive side-by-side translation of the ancient comedy, on the one hand, in a literal/faithful
way on the one hand and in a free/theatrical way on the other. Finally, it recounts the tribulations of a translation destined for the stage but in the end relegated to a computer hard drive.
Taking into consideration that Carrer’s Isabella is chronologically anterior to Verdi’s Ballo (1859), it would be reasonable to wonder whether the work of the young composer from Zante served as one of the models for one of the major operatic creations of the king of Italian opera. Since Isabella d’Aspeno was such a major operatic hit at the time when Verdi and his librettist Somma were working on the dramatic plot of Un Ballo in Maschera, the possibility that they were aware of it cannot be ruled out. We will attempt to investigate this issue by offering a comparison of the two librettos, as well as those of the other known models of Un Ballo in Maschera.
Within the area investigated, the gradual acquaintance with Western culture is effectuated initially as a private activity, only later acquiring a public character through consecutive stages of institutionalization. The proposed overview includes landmarks such as the developing of a network of musical and theatrical activity and the foundation of musical and theatrical institutions, namely opera houses, as the cultivation of art music became inherently connected with the development of theatrical activity, and in particular with the diffusion of opera and musical theatre. Consequently, the trajectory of art music in Greece will be connected with the development of Greek urban life and the continuous trend for westernization running through the huge area between the Adriatic Sea, the Black Sea, the Aegean archipelago and the Eastern Mediterranean. Concerts, opera, ballet and theatre productions, balls, light musical theatre, were all instantiations of an urban civilization, linked to city public life, and bourgeois needs and habits.
Additionally, this paper attempts to relate the path towards institutionalization with the developments in the cultural market in general, by examining factors which affect musical and theatrical activity in a decisive way, such as: the evolution of new social customs (evening entertainment), the introduction and gradual establishment of musical education, the commercialization of art, and the gradually increasing professionalism of the performers and artists which leads to the formation of a creative industry.
This chapter investigates popular song in 19th century Greece, which lies within a quite broad intermediate band between art and traditional musical creation. It aims to present different manifestations of urban popular song in the Greek 19th c., some of which develop outside the borders of the Greek state proper, as delimited after its independence from Ottoman rule. It discusses different genres, such as phanariot songs, oriental songs from Constantinople, Smyrna and Ioannina, heptanesian cantadas, Athenian light songs. All of the above genres appeared and flourished before the development of discography in Greece.
αλλά και με δεκάδες εθνικού χαρακτήρα άσματα,
ο Καρρέρ ως συνθέτης θέτει «τας πρώτας βάσεις
ελληνικού μελοδράματος» και πραγματοποιεί μεγάλα
βήματα προς τη δημιουργία αυθύπαρκτης ελληνικής
μουσικής.
This chapter offers a multi-sided approach to the expansion of operetta in Greek-speaking areas. It is a genre which brought with it a renovation of the Modern Greek theatrical stage and life, invigorating it with a new repertoire and forming a new theatrical tradition with respect to acting and staging. The new original operetta creations provided the frame for Greece’s twofold musical identity: western and oriental. At the same time, operetta succeeded in functioning as a social melting pot between “high” and “popular” musical creation. It was the source of a great number of very widely-known songs which were sung for decades as bourgeois and popular hits.
Ο θεωρητικός προβληματισμός που συνοδεύει τη μετάφραση του αρχαίου ελληνικού δράματος συγκροτεί εδώ και πολλές δεκαετίες πεδίο δημιουργικής αντιπαράθεσης μεταξύ κλασικών, μεταφραστικών και παραστασιακών σπουδών σε διεθνές επίπεδο. Πολλώ δε μάλλον και ειδικότερα έχει απασχολήσει τη διεπιστημονική έρευνα η μετάφραση της αττικής κωμωδίας, ενός πολυδιάστατου δραματικού είδους, στο οποίο συνυπάρχουν ετερόκλητα στοιχεία. Συγκαταλέγονται μεταξύ αυτών η «κλασικότητα», το γεγονός δηλαδή ότι η αττική κωμική παρακαταθήκη αποτελεί σημαντικό μέρος της αρχαίας ελληνικής γραμματείας, η κωμικότητα, το χιούμορ και το γέλιο που συνιστούν αμετακίνητο στόχο της κωμωδίας στο σύνολο της γενεαλογίας της, το κυρίαρχο στοιχείο της ιστορικής επικαιρότητας και κοινωνικοπολιτικής κριτικής, η ποιητικότητα, τουτέστιν η λογοτεχνική και αισθητική ποιότητα της στιχουργίας και, φυσικά, η θεατρικότητα/παραστατικότητα του είδους, το οποίο είναι φύσει προορισμένο για να δοκιμάζεται και να προσλαμβάνεται επί σκηνής.
Στον αντίποδα του ως άνω εκτενούς και παραγωγικού διεθνούς διαλόγου, παρατηρείται ότι το αντίστοιχο ζήτημα της ενδογλωσσικής μετάφρασης (εκτός του εκπαιδευτικού περιβάλλοντος) της αριστοφανικής κωμωδίας δεν έχει αναπτυχθεί επαρκώς στην ελληνική βιβλιογραφία. Κατά τη μεταφορά ενός κειμένου, από την αρχαία στη νέα ελληνική, τα προαναφερθέντα σημεία αιχμής περιπλέκονται ακόμη περισσότερο. Άλλωστε μία σύγχρονη, ελληνική μετάφραση της Λυσιστράτης, με την οποία θα ασχοληθούμε στην ανακοίνωσή μας, καλείται να μεταφέρει όχι μόνο το «νόημα» των στίχων ή ακόμη και τις «προθέσεις» του ποιητή τους, αλλά και να αναδείξει ένα σύνθετο πλέγμα κοινών γλωσσικών και πολιτισμικών αξιών, καθώς και ένα αναγνωρίσιμο μέσα στους αιώνες πλαίσιο σκηνικής και κωμικής δράσης.
Επιπροσθέτως, αξίζει να παρατηρηθεί ότι η μεταφραστική παράδοση της αττικής κωμωδίας παραμένει μέχρι σήμερα, στην Ελλάδα τουλάχιστον, αυστηρά ανδροκρατούμενη‧ ο εκφερόμενος από τη Λυσιστράτη και τις συντρόφισσές τις λόγος έχει αντηχήσει μέσα στις δεκαετίες σεμνότυφος, ιδιωματικός, λυρικός, αθυρόστομος, επιθεωρησιακός, πολιτικώς ορθός, πάντα όμως πατριαρχικός.
Εισβάλλοντας, επομένως, σε ένα ανδρικό άβατο, θα επιχειρήσουμε στην προτεινόμενη ανακοίνωση να αναδείξουμε τη γλωσσική και εν δυνάμει σκηνική αναμέτρησή μας με την αριστοφανική Λυσιστράτη, το πιο θηλυκό ίσως έργο του αρχαίου κωμωδιογράφου. Στο παραπάνω πλαίσιο, θα συζητήσουμε τις μεταφραστικές αρχές και τη μέθοδο εργασίας που εφαρμόσαμε στη δική μας προσέγγιση. Επιπλέον, θα εμβαθύνουμε στις περίπλοκες διαστάσεις ενός διπλού μεταφραστικού εγχειρήματος στην ελληνική γλώσσα, το οποίο συνίσταται στην κατ’ αντιπαραβολή «διπλή» μετάφραση της αρχαίας κωμωδίας, αφενός κατά λέξη-πιστά, αφετέρου πιο ελεύθερα-θεατρικά. Τέλος, θα αφηγηθούμε τις περιπέτειες μιας μετάφρασης με άμεσο προορισμό το σκηνικό ανέβασμα και άδοξη κατάληξη τον αποθηκευτικό χώρο των υπολογιστών μας.
Ανακοίνωση στο Επιστημονικό Συνέδριο "Προσεγγίζοντας το έργο του Δημήτρη Παπαϊώαννου: από το οικείο στο οικουμενικό", Αθήνα 11-13 Ιανουαρίου 2023.
This paper attempts a comprehensive evaluation of the artistic contribution of Pavlos Carrer in the field of opera and music theatre, on the basis of recent archival research. Carrer’s work is not homogeneous, nor stagnant; on the contrary it displays remarkable diversity, developing over time over multiple directions, which extend from romanticism to realism, from nationalism to neoclassicism, from oriental to urban-popular. This in depth examination of his work is intended to document and justify the claim that Carrer’s influence is not limited to a local or national level, but instead extends to the wider European operatic field.
This paper attempts to trace the trajectory of opera and music theatre in the vast area spanning the Adriatic Sea, the Black Sea, the Aegean archipelago and the Eastern Mediterranean. It focuses on landmarks such as the developing of a network of musical and theatrical activity and the foundation of musical and theatrical institutions (opera houses), always in correlation with the growth of urban life and the continuous trend for westernization, which characterizes this huge geographical and culturally diverse area.
Concerts, opera, ballet and theatre productions, balls, light musical theatre, were all instantiations of an urban civilization, linked to city public life, and bourgeois needs and customs. The theatre–opera house is located at the centre of this vivid musical and theatrical activity of the nineteenth century. The building and operation of theatres in the big as well as the smaller cities of Southeastern Europe was inherently connected to their urban function: “great collective status symbols”, as E.J. Hobsbawm has aptly put it. However the main driving force was not the institution itself, but its restless soul: the itinerant companies. In fact, the frequency of an itinerant company’s visits caused and hastened the building and opening of private and public theatres.
In this context, we will discuss all of the above in close link with the developments in the cultural market in general, by examining factors which affect musical and theatrical activity in a decisive way, such as: the evolution of new social customs, the introduction and gradual establishment of musical education, the commercialization of art, and the gradually increasing professionalism of the performers and artists, which leads to the formation of a creative industry.
In this paper we will discuss the custom of cultural evening entertainment in nineteenth-century Athenian salons of a private or semi-public character. This includes private music lessons but mostly artistic events in clubs, embassies, upper-class mansions and royal palaces. These events initially involved amateur performers, but soon one began to invite professional European artists to Athenian royal courts and wealthy salons. In these occasions, one could meet, apart from the members of the Bavarian court and the administrative hierarchy, also the members of the higher social echelons of Athens, who formed a new cosmopolitan elite with an upper bourgeois identity.
Most Greek salons of the 19th c. followed the fashion of the European salons of the period: they were held by cosmopolitan elites; Italian opera excerpts and light dance music were the key repertory; the piano functioned as a bourgeois status symbol; women enjoyed a certain prominence in them. However here we will focus on the particularities of the Greek 19th century as well as on the aspects of musical hybridization that reflect the cultural amalgamation between Greece and Europe that was taking place in salons.
Within this frame, I will attempt to present the main factors that influenced the growth of this domestic type of music entertainment, the locations and occasions of private and semi-private salon events, the protagonists of Greek salon music, namely the composers, performers (amateur or professional) and the various audiences, the wide range of salon repertory, the special role of 19th-c. magazines and the most popular music instruments in Greek salons of the nineteenth century.
Στο Συνέδριο το πολυσύνθετο έργο και η πολυδιάστατη δημόσια παρουσία του Δημήτρη Παπαϊωάννου θα μελετηθούν από διαφορετικές οπτικές και αφετηρίες.
Διοργανωτές:
- Ερευνητικό έργο «Γένεσις: Γενετική Έρευνα και Ψηφιακή Οπτικοποίηση στις Παραστατικές Τέχνες» (χρηματοδότηση: ΕΛ.ΙΔ.Ε.Κ., φορέας διαχείρισης και υλοποίησης: Πανεπιστήμιο Πελοποννήσου)
- Μουσική Βιβλιοθήκη «Λίλιαν Βουδούρη» του Συλλόγου Οι Φίλοι της Μουσικής
- Μέγαρο Μουσικής Αθηνών
The event consists of four short talks presenting aspects of the personality, the historical and cultural background of Cornaro and the impact she had on the arts. A screening of a theatrical production will follow, titled: Caterina: Last Queen of Cyprus (text by Anthie Zachariadou, directed by Andreas Araouzos).
Date: 28.03.2022
Time: 19.00
Place: Μουσική Βιβλιοθήκη "Λίλιαν Βουδούρη"- Music Library of Greece "L.Voudouri" | Μέγαρο Μουσικής Αθηνών / Megaron - The Athens Concert Hall
The webinar focuses on the promotion and dissemination of cultural archives as spaces of creation, through the application of innovative practices such as interactive communication, transmedia storytelling, digital technology and the performing arts. The webinar is organized in the framework of the European Research Project CREARCH (Creative Europe).
http://www.skairadio.gr/theatro-kai-theama-apo-tin-arxaiotita-mexri-simera/episode-2019-09-15?fbclid=IwAR246Qm7FimuVLCvb8QiBSwVpWBg89sYjkCGPa2dxUjjHBO5X0ZrccWWFeI
http://www.skairadio.gr/theatro-kai-theama-apo-tin-arxaiotita-mexri-simera/episode-2019-09-08
το Σάββατο 14, την Κυριακή 15 και τη Δευτέρα 16 Ιανουαρίου στις 8:00 μ.μ. στην Αίθουσα Νίκος Σκαλκώτας στο πλαίσιο του Κύκλου Όπερα στο Μέγαρο.
Concept, academic supervision, presentation: Eleni Papalexiou
Documentation consultant: Avra Xepapadakou
Audiovisual material editing: Stathis Athanasiou
With the contribution of ARCH-Archival Research and Cultural Heritage
11.03.2016, Antwerp, deSingel Theatre
Organization: ARCH in collaboration with "Porta" Theatre, under the auspices of the Italian Cultural Institute of Athens
Academic supervision: Dio Kangelari, Avra Xepapadakou, Eleni Papalexiou
Presentation: Dio Kangelari, with the participation of Xenia Kalogeropoulou and Thomas Moschopoulos
Opening remarks: Professor Anna Tabaki, Monica Zecca, director of the Italian Cultural Institute of Athens
Organizing comittee: Villy Charalampopoulou, Filia Dendrinou, Giorgos Dermitzoglou, Elpida Komianou, Dimitris Livadias, Louiza Nikolaou, Panagiota Xydi
Interpeting, translations: Vassilis Triantafyllou, Panagiota Xydi, Io Manolessou, Avra Xepapadakou
Communication and promotion: Natalia Katifori | OPUS Integrated Communication
Sponsors: New Hotel
28 Ιουνίου – Πειραιώς 260 (D)
1. Δεκαετία 1980 / 14:00-15:10 : Περιλαμβάνει αποσπάσματα από τα έργα:
- Santa Sofia. Teatro Khmer
- Oratoria n. 4: Tohû Wâ Bohû. Apparenze pre-mondiali
- Oratoria n. 5: Sono consapevole dell’odio che nutri per me
- La cripta degli adolescenti
- La discesa di Inanna
2. Δεκαετία 1990 / 15:15-16:45 : Περιλαμβάνει αποσπάσματα από τα έργα:
- Amleto, la veemente esteriorità della morte di un mollusco
- Lucifero. Quanto più una parola è vecchia, tanto più va a fondo
- Oratoria n. 5: Sono consapevole dell’odio che nutri per me
- Orestea (una commedia organica?)
- Giulio Cesare
- Genesi. From the Museum of Sleep
- Voyage au bout de la nuit
- Il Combattimento di Tancredi e Clorinda
3. Tragedia Endogonidia / 17:30-19:10 : Περιλαμβάνει αποσπάσματα από τα έργα:
- Cesena #01
- Berlin #03
- London #09
4. 2006-2012 / 19:15-20:15 : Περιλαμβάνει αποσπάσματα από τα έργα:
- Hey, girl!
- Sul concetto di volto nel Figlio di Dio
- Io penso
- The Phenomenon Called I
- FOLK.
29 Ιουνίου – Πειραιώς 260 (H)
5. Όπερα και μπαλέτο / 16:00-17:30 : Περιλαμβάνει αποσπάσματα από τα έργα:
- Parsifal
- Le Sacre du Printemps
6. Purgatorio / Καθαρτήριο / 20:30-21:50
Β) Συνάντηση του Romeo Castellucci με το κοινό
29/06/2015, 18:00-19:45 – Πειραιώς 260 (Η)
Επιστημονική επιμέλεια, συντονισμός
Έλενα Παπαλεξίου, Λέκτωρ Τμ. Θεατρικών Σπουδών, Παν/μίου Πελοποννήσου
Χαιρετισμοί
Άννα Ταμπάκη, Καθηγήτρια Παν/μίου Αθηνών
Monica Zecca, Διευθύντρια Ιταλικού Μορφωτικού Ινστιτούτου Αθηνών
Με διερμηνεία στα ελληνικά.
[Οποιος έχει προμηθευτεί εισιτήριο για τις παραστάσεις «Go down, Moses», δικαιούται να παρακολουθήσει δωρεάν τη μία από τις 2 ημέρες προβολών. Θα πρέπει να δηλώσει το ενδιαφέρον του και να λάβει νέο δελτίο εισόδου για όποια ημέρα επιθυμεί.]
Greek Ministry of Culture.
The papers included in the session will focus on the reception of Western cultural phenomena (particularly the performing arts) in the Balkan Peninsula and the Near East, the general tendency of the Eastern Mediterranean area towards urbanization and westernization, the establishment of urban cultural life in Greek-speaking centers and the expansion of western musical and theatrical habits.
The project is based on the rich and complex work of two internationally acclaimed stage directors, Romeo Castellucci and Dimitris Papaioannou.
It was a two-year initiative under Dr Eleni Papalexiou and Dr Avra Xepapadakou, made possible by the endorsement and financial resources of the University of Crete, and supported by a team of undergraduate students in theatre studies. In the first months of 2012 this small research team began their collaboration with Claudia Castellucci and the other members of the Socìetas Raffaello Sanzio. By the close of 2013, they had completed the classification of a considerable part of the company’s source materials.
Project leader: Avra Xepapadakou
Principal investigator: Eleni Papalexiou
In collaboration with Claudia Castellucci
Contributors: Sara Milanesi, Eva Barka, Gilda Biasini.