🔵 🔴 🟡 Course description

The course attempts to study the performative space in performance, approaching its functions in relation to the artist and the performative act, but also to the viewer and his position/participation in the event. The examination of the polysemy of the performative space will be achieved through theoretical lectures, the examination of the historical evolution of Performance in relation to the performative space and through artistic workshops of practical applications. Examples from specific artistic works will be used as an occasion for critical analysis and as a starting point for the creation of performative events. Types of performative space that will concern us are the sacred space, the processional space, the urban/public space, the symposium space, the museum space, the archaeological site, as well as the digital space.

At the end of the course the student should be able to:

• possess the theoretical approach of performative space and its connections with performative practice,
• recognize, historically, the evolution of the performative space,
• know the different types and functions of performative space in the creation of a performative event through practical artistic applications.

🔵 🔴 🟡 Theory (2 hours)

1. Basic theoretical approaches to space - Performative space: definition, characteristics. Distinction between theatrical and non-theatrical space.

2. Body, space and culture: intersection, interaction and interpenetration.

3. The relationship between the Art of Performance and the Visual Arts: issues of the performance space.

4. The position of the viewer in the performative space and his role as a co-creator

5. The role of the public in Performance: new spatialities, new approaches, new practices.

6. The performative space in Performance Art and Happening.

7. The function of the performative space and its dynamics.

8. Types of performative space I. The sacred/ritual space and the processional space. Case study: The sacred/ritual site and the site of the procession in Ancient Greece – sanctuary of Delphi, Asclepion of Epidaurus, Sacred Way (the procession from Ancient Athens to the Eleusinian Mysteries).

9. Types of performance space II. Public/urban space and street performance. Case study: The street as a performative space of political activism, from the 1960s to the present day.

10. Types of performance space III. The symposium space. Case study: The sympotic space in Banquet Performance by Barbara Turner Smith, Daniel Spoerri (Eat Art), Emmanuel Giraud, Rirkrit Tiravanija.

11. Site-specific performance: the performing arts in the museum. Case study: Marina Abramović, Tino Sehgal, Okypus Troupe (Argolida).

12. Site-specific performance: the performing arts in archaeological sites. Case study: Iannis Xenakis, Brith Gof, Efthimis Theou, Okypus Troupe (Argolida).

13. The digital space as a performative space: new realities.

🔵 🔴 🟡 Workshop (1 hour)

1. What can be considered a performative space? Short exercises.

2. Body and space: short exercises.

3. The relationship between the Art of Performance and the Visual Arts: short exercises.

4. Placing the viewer in the performative space: short exercises.

5. Practical application workshop: issues of location, perception and participation of the viewer in the new topographies of performance I.

6. Practical application workshop: issues of location, reception and participation of the viewer in the new topographies of performance II.

7. Practical application workshop: the function of the performance space and its dynamics.

8. Practical application workshop: the Promenade performance and the procession area.

9. Practical Application Workshop: Public/urban space and its function as a performative space.

10. Practical Application Workshop: Dinner and table space as a performative space.

11. Practical application workshop: creation of short site-specific performances in the museums of Nafplio (Peloponnesian Folklore Museum, Archaeological Museum, National Gallery-Nafplio Branch).

12. Practical application workshop: study of the peculiarities of archaeological sites as performative spaces and creation of short performances: The archaeological site of Heraion (Argolida).

13. Practical Application Workshop: experimentation on the coexistence and interaction between performers and spectators in digital performance spaces

Review language: Greek

🔵 🔴 🟡 Evaluation method:

• Written Assignment: 30%

• Art Work: 30%

• Public Presentation: 40%

• Face-to-face
• Use of ICT in teaching
• Use of ICT when communicating with students.

• Learning process through an electronic platform

https://eclass.uop.gr/courses/PDA106/

🔵 🔴 🟡 Course Textbooks [Eudoxus]

• Bachelard, G. 2014. The poetics of space, E. Veltsou (trans.). Athens: Chatzinikoli

• Surgers, A. 2014. Milestones of the scenography of the Western Theater, I. Lakidou (ed. and trans.). Athens: Capricorn

Extra Bibliography

• Martinidis, P. 1999. Transformations of the theatrical space. Athens: Nefeli

• Brook, P. 2016. The empty space, M. Paschalidou (transl.). Athens: KOAN

• Aronson, A. (ed.) 2017. The Routledge Companion to Scenography. Ed. Arnold Aronson. London: Routledge

• Bennett, S. 2013. Theatre & museums. (Theatre &.) Houndmills, Basingstoke, Hampshire: Palgrave Macmillan

• Bourriaud, N. 2002. Relational Aesthetics. S. Pleasance, F. Woods, M. Copeland (tr.). Dijon: Les presses du réel

• Brockett, O., Mitchell, M.A. & Hardberger, L. 2010. Making the Scene. A History of Stage Design and Technology in Europe and the United States. San Antonio, Texas: Tobin Theater Arts Fund

• Carlson, M.A. 1989. Places of Performance: The Semiotics of Theatre Architecture. Ithaca, NY: Cornell University Press

• Di Benedetto, S. 2017. “Scenography and the Senses. Engaging the tactile, olfactory, and gustatory senses”, The Routledge Companion to Scenography. Ed. Arnold Aronson. London: Routledge

• Fischer-Lichte, E., & Wihstutz, B. 2015. Performance and the politics of space: Theatre and topology. New York: Routledge

• Foucault, M. 1984. “Of Other Spaces: Utopias and Heterotopias”, J. Miskowiec (tr.), Architecture /Mouvement/ Continuité, no 5.

• Kotzamani, M. 2017. “Under the starry night: darkness, community and theatricality in Iannis Xenakis's Mycenae Polytopon”, in Alston, A., Welton, M., Taylor-Batty, M., & Brater, E. 2019. Theatre in the dark: Shadow, gloom and blackout in contemporary theatre. London; New York: Methuen: 221-242

• Kristiansen, E., & Harsløf, O. (eds.) 2015. Engaging spaces: Sites of performance, interaction and reflection. Museum Tusculanum

• Lefebvre, H., & Nicholson-Smith, D. 2009. The production of space. Malden, MA: Blackwell

• Lefebvre, H., Kofman, E., & Lebas, E. 2010. Writings on cities. Cambridge MA: Blackwell Publishers

• Performance Research: On Place 3.2 (1998)

• Performance Research: On Maps and Mapping 6.2 (2001)

• Performance Research: On Scenography 18.3 (2013)

• McKinney, J. & Butterworth, Ph. 2009. The Cambridge Introduction to Scenography. Cambridge: Cambridge University Press

• Pearson, M. and Shanks, M. 2001. Theatre / Archaeology. London: Routledge

• Rancière, J. 2007. “The Emancipated Spectator”. Artforum International, 45, 7, 270

• Stourna, A.-H. 2011. La Cuisine à la scène : boire et manger au théâtre du XXᵉ siècle. Rennes/Tours: Presses universitaires de Rennes & Presses universitaires Franҫois-Rabelais de Tours, Coll. « Tables des hommes »

• Stourna, A.-H. 2018. « L’espace muséal comme scénographie. Berlin de Stamatis Polenakis par la Compagnie Okypus à la Pinacothèque nationale de Nauplie en Grèce », in P. Chevalier, A. Mouton-Rezzouk, D. Urrutiaguer (eds.) Le Musée par la scène : le spectacle vivant au musée : pratiques, publics, médiations. Montpellier: Deuxième époque: 265-267

• Wiles, D. 2003. A Short History of Western Performance Space, Cambridge: Cambridge University Press.

• Zerihan, R., & Chatzichristodoulou, M. 2012. Intimacy across visceral and digital performance. Basingstoke: Palgrave Macmillan