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Master of Arts in Theatre (MA) (Theatre Theory and Dramaturgy) http://www.theatre.uottawa.ca/eng/program_masters_information.html   The Department of Theatre offers a two-year program leading to the degree of Master of Arts (MA) in Theatre (Theatre Theory and Dramaturgy).   This program gives students the opportunity to develop and perfect their analytical, critical and scholarly skills, as well as enrich the intellectual curiosity required for doctoral studies. We offer two MA thesis options: ·         The traditional MA thesis consists of a review of literature, its critical analysis and synthesis (100 pages); ·         MA thesis with creative project consists of a creative project and its critical analysis  (50…

In Choreographic Practices, about the works of the three Janez Janšas, Every House Has a Door, Tehching Hsieh and the philosophy of Henri Bergson. http://dx.doi.org/10.1386/chor.5.2.183_1

EIRINI AVRAMOPOULOU interviews Judith Butler and Athena Athanasiou apropos thepublication of their book Dispossession: The Performative in the Political (Polity Press, 2013) Introduction to the Interview By intertwining significant philosophical questions on subjectivity, precarity, biopolitics and performativity with contemporary dilemmas on acts of dissidence, collective protests, activism and art, this book interrogates dispossession as a complex notion. Having already been attached to processes of systematic and severe economic deprivation, as in the case of forced migration, unemployment and homelessness, dispossession, also becomes here a significant key word in order to push ideas of relatedness and (co-)existence further into the domain of both critical thinking and political…

Reading Butler: speculations on the limitations of Brecht   The focus of this article is on integrating the contributions made by Butler’s work to an understanding and expansion of performance and, in particular, what is called the Brechtian method. The following was written between 2008 and 2010 as part of my first thesis and rather than develop a purely theoretical formulation of any imaginary (or otherwise) alignment, the following will outline what can be seen as a possible set of practices. In order to show the potential of Butler’s theory of performativity and the performative to dramaturgy, I will draw…

Call for Articles: The European Legacy’s Special Issue on the Legacy of Adorno’s Criticism in Aesthetics and Performance     Regarded as one of the foremost thinkers of the twentieth-century, Theodor Adorno’s work ranges from cultural criticism, Marxism, and aesthetic theory to philosophy and sociology.  A trained musician, his work demonstrates an unusual balance between theory and praxis, a combination that distinguishes him from many other critical theorists.  Whether addressing the “culture industry’s” commodified degradation of art or defending Modernism, Adorno can be seen as a pioneer in the reciprocal critique of art and society, thereby making a case for his intellectual legacy.    …

An homage to the dialect of the place I grew up in. Glottals like hawking up phlegm or a kick in the balls, vowels like swinging on a rusty gate and consonants like ravens.

Myself and the Bike Cemetery Big Band in 2014

Judith Butler: performativity and dramaturgy Dr Jena A Zelezny (2010)   Judith Butler’s work is widely known and sometimes only known, for the theory outlined in ‘Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory’ (Theatre Journal 1988), Gender Trouble: Feminism and the Subversion of Identity (1990), and Bodies that Matter: On the Discursive Limits of ‘Sex’ (1993). The aforementioned works have often been misinterpreted. For this reason, the following re-considers the value of Butler’s post-structuralism for both theorists and practitioners along with an understanding of the inherent difference between, that which constitutes a performative act, how…

Hi all, I've just posted a new event- please check it out. dance performance, exhibition and a lecture at the Tel Aviv Museum of Art, October 25th. let me know if you can make it...

I was born and raised in Germany where I studied music and dramatic arts. I worked for many years as a theatre director in Germany, but in 1994 I followed an inner impulse and moved to Athens, Greece. I now work in Greece as a theatre director and acting teacher at several drama schools. I have always considered Greece the birthplace of western theatre, and Athens seemed like the right place to research the universal theatrical language and perhaps to discover the secrets behind the artistic creative process. So I should not have been surprised that it was here in…